"Poetry and painting are two different categories of art. Poetics is the study of the creation of poetry beauty; painting is the study of the creation of painting beauty. They have their own trajectory and process of origin, occurrence and development. In the past, they developed side by side, maintaining their own characteristics and independence. However, under the control of the laws of the movement of literary and artistic development, poetry and painting gradually appeared to be intersected and integrated, and the boundaries between disciplines were broken, and there was a two-way flow and penetration. With the continuous maturity and development of poetry and painting, the integration, penetration and integration between them has become increasingly frequent and close, and it has also nurtured the unique artistic form of Chinese national aesthetics, which is the title of painting poetry."
The above passage is excerpted from the "Introduction" part of the new book "The Integration of Poetry and Painting" of Wu Qiming, Professor of the School of Literature of Suzhou University. Wu Qiming liked Chinese painting when he was young. He suffered from the opportunity to further his studies. He was assigned to the Chinese department at university and was in love with the study of Chinese classical poetry for many years.
As he deepened his research, he felt that poetry and painting were indissoluble in traditional Chinese culture. In addition, Qian Zhongshu , Rao Zongyi and Qian Zhonglian both wrote articles to discuss the relationship between poetry and painting, which further strengthened his belief and determination to continue to conduct in-depth research in this regard.
Wu Qiming
"Theory of Integration of Poetry and Painting" is an important achievement of Wu Qiming's research in this regard. The book has 24 chapters, divided into three major sections, covering the basic laws and historical processes of integration of poetry and painting, eight important theoretical issues in the creation of poetry and painting, and the techniques and integration channels for the creation of poetry and painting art.
Recently, a reporter from The Paper (www.thepaper.cn) interviewed Professor Wu Qiming on issues such as "integration of poetry and painting" and how to further understand the art of poetry and painting. The following is the interview content.
The Paper: Your research is mainly literature. What kind of opportunity has prompted you to combine literature with painting and write this book "The Integration of Poetry and Painting"?
Wu Qiming: My academic research began with Tang poetry and was connected with poetry. After reading more Tang poetry and poetry from all ages, you can read many poems about paintings and painting art. They not only enrich my painting knowledge, but also allow me to deeply understand the similarities between poetry and painting, and allow me to wander in the artistic world where poetry and painting are integrated and beautiful. So I walked on the road of research on the integration of inscriptions, paintings, poems and paintings.
When I came into contact with the relevant discussions of three seniors, I even further aroused my enthusiasm for research. Mr. Qian Zhongshu attaches great importance to the integration of poetry and painting. He has many words discussing the integration of poetry and painting in " Guanzhubeng ". In "Four Old Literatures", there are three papers about the integration of poetry and painting in "Reading "Laokon", "Synonyms", and "Chinese Poetry and Chinese Painting". Mr. Rao Zongyi's "Paintings - Collection of Chinese Painting History" by Hong Kong, although his paper mainly describes the history of painting, he talks about the relationship between poetry and painting in many places. Among them, "General Meaning of Poetry and Painting" and "Ci and Painting" discuss the issue of the integration of poetry and painting in a very detailed and in-depth manner. Mr. Qian Zhonglian is good at poetry and attaches great importance to the integration of poetry and painting. His "Dream of Dreams and Poetry Talk" discusses poets of the Qing Dynasty, and often quotes and comments on their inscriptions and paintings. When it talks about Qing poetry, it instructed students to study painting theory. Wei Zhonglin's "Qian Zhonglian's Lecture on Qing poetry" discussed his words: "We must study various arts, which is beneficial to creative research, especially painting theory and poetry theory. Painting theory has different Southern and Northern sects, and many of the poetry theory come from painting theory." Inspired by my predecessors, I have become more and more determined to study the integration of poetry and painting, and wrote this book "The Integration of Poetry and Painting".
"Theory of Integration of Poetry and Painting"
At the beginning of the 21st century, the publishing industry saw the trend of increasing the paintings of the book version, and readers also welcome reading materials with paintings. My first book "Writing and Appreciation of Quatrains in the Inscription" with Chinese paintings was very popular after its publication. Then, in just a few years, my five appreciative works that integrate paintings and poems and paintings were published continuously.
There is also a little-known episode between them. A deputy editor-in-chief of Beijing Chinese Publishing House came to Suzhou to publish the "Poems of Paintings in China (Thousand Comments)" written by Yang Xuhui and Shi Chuang. Soon, he retired, and the new editor-in-chief had a settlement with my contract writer, but he didn't even agree to the account.My interviewer was very serious and responsible, and helped me contact Yunnan People's Publishing House . When I formally asked the Chinese Language Society to reject the manuscript, they wrote to me that the book would be published soon. In order to thank Yunnan People's Publishing House for its good wishes, I promised to compile another book for them, which is "Appreciation of Poems and Appreciation of Famous Paintings" published in Yunnan later. When Mr. Wang Xiaoyan, deputy editor-in-chief of Yunnan People's Publishing House, came to Sui to collect manuscripts, I told her that I had a manuscript "Inscriptions on Drawings and Meanings of Ci" on hand, which I wrote together with Shi Chuang. I wonder if your club is interested? She immediately made the decision and agreed to publish it. A small twists and turns gave me three chances to publish a book, which is a chance.
The Paper: When did the phenomenon of integrating poetry and painting occur and how did it develop? Please briefly explain it to us.
Wu Qiming: The cultural phenomenon of integrating poetry and painting appeared as early as the Warring States Period. The earliest collision between poetry and painting in Chinese history, sparking sparks was Qu Yuan's "Tianwen" by . Wang Yi's "Chu Ci Chapters: Tianwen" says: "I saw that there were three temples of the ancestors of Chu and the ancestral halls of the ministers and ministers, paintings of heaven and earth, mountains, rivers, and gods, and the treacherous and strange things, and the ancient sages and monsters acted." "I asked about it because I wrote the wall and asked about it." Zuo Si " Wudu Fu ": "Although there is a thorn in the stone forest", Liu Yuanlin's note on "Wenxuan": "The "Tianwen" chapter of Chu Ci says: "There is no stone forest". This is a picture of Chu in the south, but Qu Yuan can't ask about it." Qu Yuan exiled to the south and saw the pictures on the temple walls, and wrote it as "Tianwen". He realized the meeting of poetry and painting for the first time. Based on the poetry of the Book of Songs, Liu Bao of the Later Han Dynasty painted the pictures of "Northern Wind" and "Yun Han", Zhang Yanyuan "Hide Famous Painting Records of the Paintings of the Years " Volume 4: "(Liu Bao) once painted the Picture of the Clouds and Han, and people felt hot when they saw it; he also painted the Picture of the North Wind, and people felt cool when they saw it (see Sun Chang's "Shu Paintings"). "Liu Bao integrated the poetry of the Book of Songs into painting, and was the first to carry out the artistic practice of integrating poetry and painting.
The development of my country's integration of poetry and painting has gone through a long historical process along the trajectory of cuteness, development, maturity and prosperity.
The integration of poetry and painting has many expression forms: there are paintings in poems; there are poetry in paintings; using poetry to draw; using poetry to draw; using poetry to draw; discussing poetic transformation; and repetitive transformation of artistic conception of poetry and painting. Inscriptions and paintings are the most typical form of integration of poetry and painting. It is rooted in the fertile soil of the prosperity of poetry and painting art and is the product of integration of poetry and painting art. In the Han, Wei, Jin, and Southern and Northern Dynasties, poets and painters gradually integrated poetry and painting, and gradually completed the process of changing from poetry lyrics to painting in the true sense. This is the beginning of the integration of poetry and painting. Poetry and painting in the Tang and Five Dynasties have made great progress. Poets and painters frequently interact and discuss painting skills. The number of poems that use painting art as the subjects is increasing, and the writing skills are becoming increasingly perfect, and the art of poetry and painting can be further penetrated and integrated. This is a period of development for the integration of poetry and painting. Through the Song Dynasty, the inscriptions and paintings were based on the prosperity of the Song Dynasty's poems and the deepening of the theory of integration of Song Dynasty poetry and paintings, and gradually matured. Poets and painters represented by Su Shi have deeply explored the differences and commonalities between poetry and painting, laying the theoretical basis for the integration of poetry and painting. Song Huizong Zhao Ji made the artistic initiative of "Three Self-Selfs" and created the first picture-writing poems, making special contributions to the establishment of poetry and paintings to the aesthetic methods of reading. The aesthetic achievements of many poets and painters of the Song Dynasty mark the maturity of the integration of poetry and painting. In the Yuan Dynasty, the atmosphere of writing poems on the picture was prosperous. "Every time I painted, I must write a poem" ( Wang Shizhen "Daijingtang Poetry Talk"), and the same was true for other poets and painters. The Yuan people wrote a large number of poems about paintings, opening a new era of poems about paintings in my country. The poetry and painting circles in the Ming and Qing dynasties were even more prosperous, which effectively promoted the trend of a large number of poems, a wide range of subjects and excellent quality, and the integration of poetry and painting entered a prosperous period.
The integration of Chinese inscriptions and poems and paintings has experienced long-term development, integrated into the genius and wise creativity of countless calligraphers and painters in my country, reflecting the characteristics of the aesthetics of the Chinese nation, forming works of art with the charm of oriental culture, standing in the forest of world literature and art, shining with unique brilliance.
The Paper: The integration of poetry and painting has existed in China since ancient times. Why can China form this kind of artistic phenomenon of mutual integration? Is there such a similar phenomenon in the West? What is the difference between China and the West?
Wu Qiming: China can form an artistic phenomenon where poetry and painting blend together, which is caused by a variety of factors. First of all, in Chinese national culture, poetry is a literary style that has the earliest development, the highest achievements and is most loved by everyone. China is the kingdom of poetry. In the Tang Dynasty, due to the catalysis of objective conditions, poetry was particularly prosperous and prosperous. Tang poetry played a role in people's lives at all times and everywhere. Mr. Wen Yiduo called it "Poetry Tang", which is indeed a famous saying. From the Song Dynasty to the Qing Dynasty, poetry penetrated into all aspects of social life. It was an important tool for people to express their emotions, express their aspirations, discuss matters, and discuss them, and became a treasure in the Chinese national culture.
Most painters are poets, or people who can write poetry. Even if they can't write poetry, they are immersed in the ocean of poetic life and the paintings are poetic. The most prominent example is the Ming painter Qiu Ying . He has never written a poem, but we are surprised to find that his paintings are full of poetry. The same is true for Ming painters Wu Wei and Dai Jin . This reminds me of the words in the article "Chinese" in Lin Yutang: "Poetry penetrates our living structure much deeper than in the West." The practice of integrating poetry and painting in my country proves that Lin Yutang's words are very precise and profound.
Everyone says that poetry theory is connected with painting theory. The author has long studied the history of the integration of poetry and painting in my country and unexpectedly found that painting theory often appears with the emergence of poetry theory. For example, the "outside the picture" and "painting situation theory" of painting theory are all derived from poetry theory. There are also some painting theories that were proposed by poets. For example, the "transfer theory" was first proposed by the Tang poet Jiaoran , and the "strategy theory" was first proposed by the Tang Dynasty poet Wu Rong.
More important factor, the artistic characteristics of Chinese poetry and Chinese painting are not only different, but also common. Chinese poetry and painting are both imitation arts and have the common characteristics of reproducing objects; Chinese poetry and paintings also emphasize the use of rich artistic imagination as the vitality of creation and have the same laws of artistic thinking; Chinese poetry and paintings also advocate "respecting the spirit", "outside the image", and "artistic conception", and have the same aesthetic pursuits. Sameness facilitates the intersection and integration of poetry and painting; differences facilitates the infiltration and complementarity of poetry and painting.
To sum up, it can be seen that poetry is a cultural treasure of the Chinese nation. Most painters are poets. Painting ideas are accompanied by poetic ideas. Chinese poetry and Chinese painting have many similarities and similarities, which creates a unique condition for the art of poetry and painting.
Western aesthetics also explores the relationship between poetry and painting. The more representative work is "Raocon" by German aesthetician Lessing . Lessing's theory has something to offer, but he overemphasized the differences in poetry and painting, ignored their commonality, and lacked the basic conditions for in-depth exploration of the integration of poetry and painting. Lessing also proposed that metaphors cannot be used in painting, and he said: "This method (metaphor) cannot be used in painting" (Laocon).
Yang Wujiu painted plum blossoms
my country's natural aesthetic concept of "comparing things with virtue" was formed as early as the pre-Qin period. Our ancestors often linked the attributes of natural objects with human spirit and morality. During the Tang and Song dynasties, Bi De said that it was widely used in painting art. Yu Shao painted the "Pine and Bamboo Picture". He said that pine has an "immortal" heart and a "staying and firm" pattern; bamboo has the "flattering" qualities and the "cold and cold" qualities (see Yu Shao's "Pine and Bamboo Pictures") He integrated his mind and integrity into the artistic image of pine and bamboo. The Song Dynasty painter Yang Wujiu painted "Hotel 2 Years of Cold Three Friends" and gave pine, bamboo and plum the virtue of fearlessness and hardship. Lessing did not absorb the essence of oriental aesthetics , so his theory is very different from that of the Chinese nation.
The Paper: What do you think should be the highest level of integration of poetry and painting? If you were asked to give an example, what do you think is the most representative? Which work do you prefer the most?
Wu Qiming: Poetry is beautiful, painting is also beautiful, and the artistic realm presented after the integration of poetry and painting is more beautiful.I think the highest realm of integration of poetry and painting should be the infinite integration of poetry and painting beauty, the transformation of poetry into painting, and the transformation of painting environment into poetry environment, without any trace. Poetry and painting penetrate and integrate each other, achieving the state of "integration".
In Volume 23 of "Daijingtang Poetry Talk", Wang Shizhen listed the poem "Best" by Ni Zan . The poem says: "The frost in the south of the Yangtze River has not fallen in October, and the green maple is red and green. I sit on the night of the cold mountain, and the new geese write a poem and walk in a small way." Ni Zan's painting is inspired by Du Mu's poem "The autumn shadow of the geese flies first" in "Hong Kong Han's autumn shadow" on the 9th day of Qi'an. The scenery on the picture is very poetic, the autumn is clear and the geese are in the air, as if they are writing new poems. Yunlin uses this artistic imagination as the subject of the painting, and there is poetry in the painting. He wrote a poem for the painting, and the first two sentences describe the scenery on the picture and reproduce the beauty of the painting environment. His painting landscape comes from Du Mu's "Send to the Judge of Han in Yangzhou" "The grass in the south of the Yangtze River has not withered after autumn." The second half of the poem is still written, and the third sentence is obviously from Du Mu's "Stop and sit in the maple forest at night." The poem's thoughts turn sharply, and the meaning is different. The final sentence falls on the painting title "New Geese's Poem", which responds to the whole poem and is closely linked to the picture. After careful consideration, Ni Zan's poems are charming and full of beauty, with Fan Chuan's poems, and Fan Chuan's poems and Yunlin's poems are integrated. Poetry, painting, painting scene, and poetry environment are transformed many times, and the two different types of art are repeatedly integrated and wonderfully integrated. Wang Yuyang's high arguments are indeed false. Ni Zan's painting has been lost, and we cannot compare the poem with the painting to appreciate it. It's a pity.
Huayi " Tits Love Plum Picture"
I prefer Huayi's "Tits LOVE Plum Picture". The upper part of the painting is painted with branches, and plum blossoms dot the branches, as brilliant as brocade. A tit is flying among the flowers, and a tit is hanging upside down on the plum blossoms. They are opening their mouths and calling, as if calling their companions to come to appreciate the plum blossoms, focusing on expressing the title of "tit loves plum blossoms". The painter wrote a poem by himself: "Looking at the walls like the sea, half of the iron flower blooms. Moqilin is in love with coldness, and the mountain birds also know how to love plum blossoms."
The poet grasped the main scenery of the picture and developed a painting. In the third sentence, I suddenly had a whim, talking about the famous plum blossom poet Lin Feng hundreds of years ago. Lin Feng loves the elegant and cold plum blossoms, so he says "love is cold". The final sentence is completed and said that everyone should not be surprised by Lin Fu's Aimei's personality. Even the tits know Aimei, let alone the emotional Lin Sou. The poet personalizes tits and gives ruthless tits human emotions and aesthetic interests. This poem uses people to set off the sparrow, expands the meaning of the painting, and is full of interest. The poetic and painting are repeatedly integrated and deepened to truly achieve a state of integration.
The Paper: You have been accumulating for a long time before writing this "Theory of Integration of Poetry and Painting". You must have had a lot of interesting things and experiences. Can you talk to us about these past events casually?
Wu Qiming: I have indeed done a long time of theoretical preparation and material preparation for writing "The Integration of Poetry and Painting". The past is vivid in my mind, and it is by no means the past.
I noticed the poems inscribed and painting very early on, and used them as an entry point for studying the integration of poetry and painting. I write the research results into papers or special books, or use them as teaching content and teach them to undergraduate students, graduate students, and poet friends from senior citizens' universities and poetry clubs. Not long ago, I attended a reunion of classmates from the Grade 7 and 8 of the University of Suzhou University Literature. A classmate came to tell me seriously: "Teacher Wu, I still remember you when you taught us the topic and painting poems." A rough calculation shows that this is the past nearly forty years ago. In 1992, Mr. Yoichi Nakajima, a professor at the Department of Literature of Kansai College, Japan, came to the Department of Foreign Languages of the University of Jiangsu Province to study. I accompanied him to visit the Dongshan Zijin'an in Suzhou, and in the quiet tea room, he sipped fragrant tea and talked about famous poems. "When I talked about the current research on Chinese paintings, he happily told me that there were also poems on ancient Japanese screen paintings. Later, he copied the "Haihata "Haihata Waka Painting" included in " Ancient and Modern Waka Painting" by Ji Guanzhi and others and "Japanese Classics". Their affection is commendable, and the friendship between scholars from the two countries' sincere exchanges and exchanges is particularly cherished.” (See Wu Qiming’s note after the article “The Origin of Poetry and Art in Viagra”)
I have been engaged in the research on the integration of poetry and painting for a long time, read famous ancient paintings widely, browsed painting history and painting theories, interacted with painters, and talked about painting art, which has benefited a lot. My compilation of "The Complete Works of Yun Shouping" (published by People's Literature Publishing House in 2015), and the former vice president of the Suzhou Chinese Academy of Painting Ma Bole provided me with the original publication of Jiang Shi Yi Niantang in the 26th year of Daoguang. The Ouxiangguan Collection made me successfully complete the editing task. I clearly remember a past event: in the past, I mistakenly used the poem in the Liang Kai " splashing ink immortal picture " as Liang Kai's work. Later, I had the opportunity to see the album published abroad at Mr. Bole's home, and I realized that this poem was written by Aisin Gioro Hongli. In 1990, two friends, Jin Xuezhi and Jiang Guangdou, jointly wrote the "A View on Appreciation of Poetry in the Painting of Calligraphy and Painting in the Past Dynasties" (Published by Shaanxi People's Publishing House) and it was clearly understood. The author emphasizes the aesthetic concept of integrating poetry and painting.
From September 2003 to February 2007, I have successively published "Writing Quatrains on the Inscriptions of Paintings" (Suzhou University Press), "Reading Collection of Famous Paintings of Paintings in the Paintings of Paintings in the Paintings" (Landscapes, Flowers and Birds, Characters, Suzhou University Press), "Explanation of Tang Poetry and Paintings" (Qilu Bookstore), "Appreciation of Famous Paintings in the Paintings of Famous Paintings in the Paintings of History" (Yunnan People's Publishing House), "Poems on the Paintings of Paintings in the Paintings of Paintings in the Paintings of Paintings in the Paintings of Paintings (Thousand Comments)" (Chinese Publishing House), "Inscriptions on Paintings and Paintings of Characters" (Yunnan People's Publishing House), "Inscriptions on Paintings and Paintings of Paintings in the Paintings of Paintings" (Yunnan People's Publishing House), "Inscriptions on Paintings and Paintings of Paintings in the Paintings of Paintings" (Yunnan People's Publishing House), "Inscriptions on Paintings and Paintings of Paintings in the Paintings of Paintings" (Yunnan People's Publishing House), "Inscriptions on Paintings and Paintings of Paintings in the Paintings of Paintings" (Yunnan People's Publishing House), "Inscriptions on Paintings and Paintings of Paintings" (Yun Nan People's Publishing House) constitutes a series of products that integrates the integration of poetry and poetry and painting, laying a solid theoretical foundation for the writing of "Theory of Integrating Poetry and Painting".
From 2006 to 2008, I spent three years to write 18 short essays for Phoenix Publishing House's " Classical Literature Knowledge ", with the title of "The Integrating Poetry and Painting". Based on a poem, it expounds a painting philosophy or a technique that integrates poetry and painting, such as "taking momentum, "listening to the fragrance", "highlighting the main scenery", etc. At that time, these articles received good reviews, and the editor-in-chief hoped that I would continue to write them, but I politely declined. I remember writing a letter to the responsible person at that time and said tactfully that I would write a book in the future and I cannot disclose all the content too early. I think he should understand my good intentions.
Because of long-term accumulation, when I wrote "Theory of the Integration of Poetry and Painting", I would like to give creative examples every time I wrote a theoretical summary, so I would pick it up at will in my previous research and be able to use it with ease. It is no exaggeration to say that without the long-term preparation in the early stage, there would be no such book.
The Paper: Generally speaking, Chinese paintings can be divided into landscape painting, figure painting, and flower and bird painting according to their content. Which type of painting do you think is the most prominent integration of poetry and painting? Why?
Wu Qiming: I personally believe that among many painting subjects, in contrast, the integration of poetry and painting in landscape painting is the most prominent. Why? This needs to be examined from many aspects before it can be explained clearly.
First of all, look at the development trend of landscape painting.
Middle landscape painting was originally just the background of figure paintings and was an accessory. After the Eastern Jin Dynasty, landscape painting gradually became popular among painters and became independent from figure painting. Zong Bing's "Handle 2 Preface to Painting Landscapes " said that he was attached to the scenery of Lushan Mountain and Hengshan Mountain . "Then the portraits are painted in Yunling." Yao's "Continued Paintings" records that Xiao Gui painted landscapes on the round fan, "within a stone's throw, but looking thousands of miles away." Unfortunately, their creations have been lost. During the Tang and Song dynasties, landscape painting was particularly prosperous and became an independent painting science, standing with figures, flower and bird paintings. The green landscape represented by Li Sixun and his son occupied the painting world of the early Tang Dynasty. Ink and wash landscape painting represented by Wu Daozi , Wang Wei , Zhang Qiong, and Wang Qia rose, and was in line with the green landscape. Jing and Guan during the Five Dynasties, Li Cheng , Fan Kuan , Guo Xi in the Song Dynasty pushed northern landscape painting to its peak, Dong and Ju during the Five Dynasties, and Mi family father and son in the Song Dynasty pushed southern landscape painting to its extreme. From then on, landscape painting has made great progress, and the "Four Masters of Yuan Dynasty" and "Four Masters of Ming Dynasty" are both good at painting landscapes. "The Six Great Masters in the Early Qing Dynasty" were good at painting landscapes. Although Yun Shouping has the old saying "leaving flowers by abandoning landscapes and learning from flowers", this does not conform to the actual creation of Hui Shouping.After he met Wang Hui, he still created a large number of landscape paintings and wrote a large number of landscape painting poems and inscriptions. Shi Tao among the "Four Monks", Gong Xian among the "Eight Great Masters of Jinling", Gao Xiang among the "Eight Eccentrics of Yangzhou", Xugu among the "Sea Painting School", and Pu Hua are all landscape painting masters. The above briefly outlines the entire process of the development of landscape painting in my country. It can be seen that the landscape painting department has changed from an appendix to an independent painting department, and has become a mainstream painting department. The increasingly literatiization of painting has injected strong vitality into this painting subject.
Secondly, from the artistic characteristics of landscape painting.
Painting theorists have long revealed the artistic characteristics of landscape painting. Zong Bing's "Preface to Painting Landscapes": "The sage contains Tao and reflects things, while the sages are clear and savages are scattered in their hearts and tastes." "The peaks and mountains are scattered in the forests, and the sages are reflected in the peerless world, and all the interests are integrated into their spirits." Wang Wei's " Painting ": "Looking at the autumn clouds, the spirits are flying; facing the spring breeze, the thoughts are vast." Zong Bing and Wang Wei carry forward the mystery of landscape painting, saying that painters contain "Tao" and "will" in "objects", and incorporate the painter's "spiritual thoughts" into "all interests", so they can see the clouds moving, the spring breeze, and the spirits are flying. Landscape painters use empathy as a means to contain their attitude towards life, interest in life, and aesthetic concepts in the mountains, rivers, forests and springs. Tang Yin wrote himself " The sound of pine trees on the mountain road " and said: "Try to be idle from the quiet, and you will feel the rushing energy of Taoism." The old man in the painting is on a small wooden bridge, listening quietly to the sound of mountain springs and pine waves, and understanding the principle that all things are endless. The painter reveals the "Tao" in his paintings. The artistic characteristics, spirit and meaning of landscape painting highlight the artistic spirit of integration of poetry and painting.
Again, from the expression form of the integration of poetry and painting.
"Lin Hejing Poetry Pictures"
html Among the more than 0 forms of expression that integrate poetry and painting, landscape painting is most suitable for expressing the intersection and integration of poetry and painting. Su Shi talked about "there are paintings in poetry", the example he cited was Wang Wei's landscape poems (see Su Shi's "Book of Mo Jie's Picture of the Smoky Rain in Lantian") Sun Yan's "Postscript to Lu Shuping's Painting of Wang Shizhen's Traveling in the Scenic Site", and believed that "there are poetry in paintings" in these landscape paintings of Lu Zhi . Dong Qichang painted a painting "Poetic Picture of Lin Hejing", which was written by Lin Bu's poetic painting "The Seclusion of Gushan Book Wall", which is clearly a landscape painting. is found in Ren . "Lianpo Poetry Talk" records a story about a Yue monk asking for painting from Shen Zhou. Shen Zhou draws a picture according to the monk's poetry, which is also a landscape painting. Gao Kegong, a native of the Yuan Dynasty, had a very famous poem "Zhongbi Pavilion Inscription". The poem has a contrast between light and darkness, changes in color, and turns the quiet environment into dynamics, reflecting the wonderful state of "there is painting in the poem", which clearly integrates the poetic meaning of Wang Wei's " Residence in the Mountain Autumn ". Lin Shu was good at painting in the Qing Dynasty. In "Chunjuezhai's Painting", he raised the issue of "there are also paintings in the poems", and he cited Zhang Yan as an example. In fact, in Liu Yong "Yu Lin Ling" "The willow bank, the morning breeze and the waning moon" has a painting meaning, so Luo Cheng draws the meaning into "The morning breeze and the waning moon map". Liu Yong's poems are even more famous. A brief example is enough to illustrate the problem.The Paper: What homework should ordinary readers do if they want to understand the art of poetry and painting? Hope you help with some advice.
Wu Qiming: Friends who love poetry and painting, especially young friends, want to further understand the integration of poetry and painting art and poetry and painting, I suggest three things.
The first thing: "Read".
Read some poems written by paintings in the past dynasties. There are many poems inscribed and paintings in the past dynasties. You can choose some famous works to read first, and then gradually expand them. From the perspective of posture, you can first read the quatrains of the title and draw the quatrain. They are short and concise, easy to remember and recite, and then read the quatrains of the title and the ancient poems with a longer length.
Read some famous paintings of all dynasties. Paintings should be "read". Gu Xiu, a native of the Qing Dynasty, enjoyed reading paintings, and called his own study room "Reading Huazhai". There is "Kansong Reading Huazhai" in Suzhou Net Master Garden. Reading paintings means savoring them carefully, from the layout and momentum of the painting, to the brush and ink techniques and color application, from the meaning of the portrait to the artistic conception, read repeatedly, and slowly understand.
Read some basic painting history and painting thesis works, from shallow to deep, and understand some basic painting knowledge.When reading ancient people's inscriptions, painting history, and painting theories, you may encounter difficulties and doubts. You can find some books with explanations, interpretations, and appreciation to help you improve your reading ability. I have written some books on this area, so I can find them to read them.
The second thing: "Think".
Thinking means thinking, thinking is a thinking activity that comes with "reading". When reading a painting and reading the poem written on the painting, you must appreciate its deep meaning, understand the creative ingenuity of poets and painters, compare the painting beauty, brushwork, ink interest, and painting environment of the painting with the poetry, artistic beauty, lyricism and poetry in the inscribed poems, find out the subtleties of their integration, permeation and complementation, and grasp the aesthetic characteristics of this work of art as a whole. This kind of thinking activity gradually improves with the increase of readers' academic and aesthetic abilities. Don't be impatient and impatient.
The third thing: "Write".
Based on "reading" and "thinking", you might as well try to write topics and draw poems by yourself. When writing poems and paintings, there are two problems: one is artistic skills and the other is music. When writing a poem with a painting, you must first pay attention to the "intention" and consider what you write, tell the readers what kind of life and artistic ideas, how to write, how to grasp the picture, etc. Secondly, we must choose structural and composition, consider how to plan and layout the article, and understand the method of "starting, inheriting, transforming, and combining". Third, we should pay attention to rhetorical skills, consider using language techniques such as duality, metaphor, pun, overlapping words, scheming into sentences, and wonderful use of virtual characters, so as to create the musical beauty, color beauty and neat beauty of poetry language. Finally, appropriate poetry skills should be used, especially those that can fully reflect the artistic characteristics of the poems in the inscription, such as "making truth with paintings", "poetry conveying unexpected ideas", "aesthetic empathy", "writing beauty with artistic effects", "synchronicity", etc. The second problem is sound rhythm. When writing poems for painting, you should pay attention to the rhythm of sound and rhythm. Regular poems and quatrains have fixed patterns in the number of sentences, adjust the level and tone, and match the flat tone. The ancient laws are relatively free, and there is no need to adjust the level and tone, and the rhyme can be flat or tone. When it comes to rhyme, everyone is accustomed to using "horizontal rhyme", that is, the rhyme rules based on Mandarin will gradually be accepted and adopted by everyone.
Learn to write questions and draw poems, and you cannot succeed overnight. You must be patient, practice more and write more, and you can master it slowly. Practice makes perfect, and use it freely. In the second half of this year, Huangshan Bookstore will publish "Thousands of Quatrains on the Illustrated and Painted", which is written around the concept of "what to write" and "how to write", and can be used for reference by friends who are new to write poems and paintings.
The Paper: I heard that you are also planning to write a "History of the Integration of Chinese Poetry and Painting". What is the difference between this "The Integration of Poetry and Painting"? Can you reveal your ideas in advance?
Wu Qiming: I do have the intention to write a history of integrating poetry and painting, and the book is titled "The History of integrating poetry and painting in China". When I wrote "The Integration of Poetry and Painting", I naturally developed such academic intentions. Because "The Integration of Poetry and Painting" is a general theory work, it discusses the various channels, convergence points and expression forms of the integration of poetry and painting. Their respective artistic characteristics clearly reflect the academic characteristics of horizontal research. "A History of the Integration of Chinese Poetry and Painting" is completely different from it. My preliminary conception is that this book focuses on exploring the historical and cultural background and development trajectory of the integration of poetry and painting in my country, and deeply explaining its national characteristics and the uniqueness of oriental aesthetics. It is an important aesthetic contribution of poets, painters and theorists. Using the diverse and intertwined research methods of aesthetics, literature and painting, in the process of continuous alternating creative practice and theoretical exploration, and in the debate and thinking of continuous evolution of inheritance and innovation, "panoramic presentation" the history of the integration of poetry and painting in my country. It will be an important carrier to show my commitment to integrating the research results of poetry and painting art. It is different from the general history of Chinese poetry and painting, and will become an important branch in the history of aesthetics. I am willing to contribute to the construction of oriental aesthetics.
The author's "Tang Poetry and Painting Art" will be published by Phoenix Publishing House soon. I initially tried to use poetry and painting to integrate historical views, considering the outstanding contributions of poets, painters and theorists in the Tang Dynasty in creation and theory, and also carefully explored the inheritance and promotion of the integration of poetry and painting in the Tang Dynasty by poets and painters of all dynasties.This is my "training" before writing "The History of the Integration of Chinese Poetry and Painting". I will expand my horizons, broaden my thinking, and earnestly complete the writing tasks of the whole book.
I also plan to open a column on "Integrating History of Poetry and Painting" in the journal "Classic Literature and History Knowledge" and write some short essays to use this as an academic window to widely solicit and listen to the opinions of friends in the academic community, laying a solid academic foundation for writing in the future.
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