Why are calligraphy and painting homologous?

The homology of painting and calligraphy means that painting and calligraphy originated in one place and are all important parts of Chinese civilization. China's paintings are closely related to China's calligraphy, and their emergence and development complement each other. In the history of painting, based on the so-called "He Tu Luo Shu" of the pre-Qin philosophers, Zhang Yanyuan said in the Tang Dynasty's "Records of Famous Paintings in Past Dynasties: Narrating the Origin of Paintings" that "you have four eyes and look up. Because the traces of birds and turtles determine the shape of the characters, it is naturally impossible to hide its secrets, so it rained heavily; Ghosts can't hide from shapes, so ghosts cry at night. At the right time, calligraphy and painting are the same, without division, just like the beginning of the elephant system. There is no way to convey its meaning, so there are books; There is no way to see its shape, so there are paintings. " This is the earliest theory of painting and calligraphy homology. Yin Qi's ancient prose is not only calligraphy, but also pictures. Zheng Wuchang, a close friend, said, "This is an era of calligraphy and painting". Calligraphy pays attention to the beauty of momentum, attitude and rhythm, which can be said to be a real abstract art. China's paintings make full use of the abstract means of calligraphy. The use of calligraphy is the language of Chinese painting modeling. Chinese painting is hard to say without the help of calligraphy. Calligraphers' feelings directly affect painters, and calligraphy theory is the basic textbook for painters to use pens. It can be seen that Chinese painting itself has a strong interest in calligraphy, and the lines and Mo Yun of Chinese painting reveal abstract beauty everywhere, which has independent aesthetic value. In other words, even if you leave the object and enjoy every piece alone, it will make people feel happy and ecstatic.