Chinese painting is a scroll painting painted on silk, silk and rice paper. According to the subject matter, it can be divided into figure painting, landscape painting and flower-and-bird painting. According to techniques, it can be divided into meticulous painting and freehand painting, which reflects people's knowledge and understanding of nature, society and art to a certain extent. Chinese painting embodies the traditional philosophy and aesthetics of the Chinese nation in observation and understanding, image building and expression techniques. In observation and understanding, we adopt the method of seeing the big and seeing the big from the small, and observe and understand objective things in activities, even directly participate in things, rather than appearing locally or being limited to a fixed point. It permeates people's social consciousness, thus making painting have the cognitive function of "learning to paint after a thousand years of solitude" and the educational function of "warning the world with evil and showing the future with good". Even the purely natural objective images such as landscapes, flowers and birds are consciously related to people's social consciousness and aesthetic feelings in observation, understanding and performance. The combination of interests, lyricism with scenery, and ambition with things embody China's concept of "the unity of man and nature".
When evaluating Wang Wei's poems, Su Shi, a famous poet and painter in Song Dynasty, put forward the most famous assertion that "there are paintings in poems and poems in paintings", which became the most commonly used vocabulary in the appreciation and evaluation of Chinese paintings.
Guo once said: "It is more like what the predecessors said:' Poetry is an invisible painting, while painting is a tangible poem.' "("Lin Zhi? It can be seen that the earliest formulation should still be before Guo. Yuan Yang Weizhen said in Preface to Poems: "A poet gets his heart, and a painter paints with his heart. The two are the same. The scenery of mountains, rivers and plants is described by voice, not painted? Isn't it poetic to see the scenery of mountains, rivers and plants that are silently described? Therefore, those who can draw poetry must draw, and they will understand poetry better. No different from Tao. A Qing scholar Ye Xie has this introduction: "Therefore, the painter is a silent poem of heaven and earth; Poets are silent paintings of heaven and earth. "The breakthrough of the combination of poetry and painting on the boundary of time and space is not only manifested in the breakthrough of contradictions such as static and dynamic, sound and static, and the process of time change, but also in the realization of" three-dimensional "artistic conception.
Expressing one's will and feelings are the common features of works of art, and poetry has a long history in this respect. Similarly, painting is also a way for painters to express their thoughts and feelings. Yuan dynasty soup? "Painting Theory" said: "The ancients painted pictures with profound meanings, and all of them had owners when they put pen to paper." Zheng Sixiao, a famous painter in the Southern Song Dynasty, painted "The Map of Moran" with the feeling of "weeping and writing Li Sao" to express his yearning for the motherland.
First, there are pictures in poetry. Inferred from historical data, the relationship between poetry and painting was hardly advocated in the Tang Dynasty. Around the Tang Dynasty, painters or theorists thought that the main purpose of painting was "representation". Of course, appearance alone is not enough. The real artist is concerned with how to reflect the truth of things in his paintings. There is a passage in Volume 18 of Wang Yuyang's My Talk about Red North: The world says that Wang Youcheng painted bananas in the snow, and so did his poems. For example, "the maple trees in Jiujiang are several times greener and the five lakes in Yangzhou are several times whiter", followed by names such as "Lanling Town", "Fuchun Country" and "Stone Town", all of which are far apart. Generally speaking, ancient poetry and painting only took pleasure in meeting God.
In Wang Wei's poems, every word contains a Zen machine. Under his influence, people will put aside their struggle, utilitarian thoughts and greed, and show Lang's consciousness with affectionate and cold eyes. Enlightenment is the manifestation of truth and the clarity of existence. Consciousness has entered real life, and real life has also entered the realm of brilliant enlightenment. Those seemingly looming and seemingly absent poems, as well as the faint charm felt when reading, are what later generations have been pursuing in Wang Wei's poems. Wang Wei's poetry neither abandons the aesthetic perceptual object nor sticks to it, which is a detached spiritual attitude. Any researcher can naturally imagine Wang Wei's painting style and his poetic style together. That is to say, in Wang Wei's painting art, there is an unusually obvious tendency of "poeticization". The poetic expression of painting in artistic form has become a poetic pursuit and poetic nature, which has transformed people's intentions into the most inner invisibility of people's spiritual space, thus making the poetic world open its secrets to us. Although Wang Wei's paintings are unreliable, his poems are vivid. Moreover, from a certain point of view, the literati's admiration for Wang Wei in art mainly stems from their interest in his poems. Su Shi affirmed this question very clearly in an inscription: "There are paintings in poems with charm; Look at the picture. There are poems in it. The poem says:' White stone in Lanxi, red leaves in Yuchuan are sparse. There is no rain on the mountain road and the air is green and wet. "This is our poem. Or no, good people make up for the legacy. "
Second, there are poems in the painting. China's painting is mainly manifested in the simple and profound poetic way represented by Wang Wei. This poetic way began in the Song Dynasty, and the transformation of artistic spirit and artistic language also began from then on-this transformation is precisely the living environment of Wei's later years, and he deeply realized the relationship between man and nature, the ignorance of art and Zen, and the subtle and profound artistic realm-refined but not carved, bright and clean, natural and profound. Therefore, the style of painting, like this poetic style, has changed from advocating "style" and "meteorology" to advocating "charm" and "interest". The style of painting advocated by art critics has almost become the highest realm of painting art since then, from Fan Kuan, Li Cheng and Guo in the Northern Song Dynasty, Xia Gui in the Southern Song Dynasty, to Dong Yuan, Ju Ran and Yuan Sijia.
Su Shi said in "Two Origami Paintings by the King of Shu Yanling": "On the similarity of paintings, when you see your neighbors, poetry must be poetry, and you must know a poet. Poetry and painting are unified, ingenious and fresh; Bian Luan bird sketch, Zhao Changhua vivid. Why are these two pictures so sparse and even? Whoever says a little red will say that spring is boundless. " He clearly pointed out that the creation of artistic images in painting is not based on the deliberate imitation of "likeness", but on "life" and "spirit", because only the artistic images of "life" and "spirit" can achieve the artistic realm of "boundless spring scenery". Ouyang Xiu also said something similar: "Ancient paintings don't draw shapes, and Mei poems have nothing to hide. Few people are complacent and look at paintings without looking at poems. " (Ouyang Wenzhong's official collection? "God" and "meaning" are the requirements for China painters to create a high realm, but the acquisition of "God" and "meaning" does not depend on the so-called "truth" of artistic images, but requires painters to naturally express themselves on the basis of a deep understanding of objects. Only by "forgetting the beauty in their hearts means that they are not tired of their work, and the secret lies in it" (. Although the artistic images are different, they can create shapes outside the shape, feelings outside the painting and gods outside the painting.
Su Dongpo wrote in the painting: "Mr. Wang wrote about Guo Bi, and also said that' the faint heart attracts wine, and the lung, liver and teeth attract bamboo stones. If you want to do something, you can't stay. Write to your snow wall. "If you know that Mr. Zhi doesn't take advantage of his happiness on weekdays, he won't do it. From Su Shi's example, we can see that the function and significance of painting have changed greatly after the literati intervened in painting. For them, the purpose of art is to liberate and transcend the human spirit, and also to move towards freedom, liberation and intoxication for the spirit of transcendence. Another example is the words in Sleeping in the Western Hills: only writing about the transcendence of its poetic realm is beyond words. This may be the indissoluble bond between poetry and painting in China's art.
Painting is difficult for poetry, and its basic premise is that poetry and painting are different. Scholars have discussed this, mainly think that: poetry is lyrical and painting things; Poetry focuses on inner thoughts, while painting focuses on external images. From the media point of view, the colors and lines of painting are parallel in space, while poetic language develops in a straight line. From the perspective of subject matter, painting describes the static objects in space, while poetry describes the flowing movements in time; Sensually speaking, painting pays attention to vision and is suitable for taking many objects juxtaposed in space, while poetry uses hearing and is suitable for demonstrating the development of things in order.
Scholars participate in painting, explain and create painting according to the mature state of poetry, and promote painting to the realm of poetry. Therefore, Su Shi began to advocate "poetry in painting" based on the intersection of the times: the intersection of inheriting the tradition of poetry and the aesthetic interest developed in the Song Dynasty. This will inevitably affect Su Shi's choice of the tradition of the previous generation, so his "poems in paintings" are poems with specific interests, which naturally produces paintings with specific interests.
3. Conclusion The unity of poetry and painting can be organically unified in a work. The two play a complementary and germinal role, creating a new artistic conception. This is the creation of China artists, the uniqueness of Chinese painting, and one of the reasons why Chinese painting is immortal.
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