A calligrapher, who doesn't know poetry, can't write calligraphy.

The relationship between China's calligraphy and China's classical poetry here means not only the content of calligraphy works but also poetry. The content of calligraphy works, except for special circumstances such as "calligraphy tablet", is generally concise and implicit, so that "less is better than more" The beauty of calligraphy and poetry are presented together, which deepens the artistic meaning of calligraphy works. Therefore, it is reasonable that China's classical poems are favored by calligraphers. But this is a superficial connection. When talking about the relationship between poetry and painting, Li Kuchan, a famous contemporary painter, once said: "Literati's painting is high because he takes poetry as his painting and literary talent as his guide", and "If you take poetry as your painting mind, you will have literary accomplishment" (Notes on the Edge of Rain Ink Stone). This theory is very incisive and completely similar to calligraphy.

It is natural that calligraphers have "ink", literary talent and poetry in their minds. Calligraphers are also poets. In other words, a calligrapher is at least a poetry lover who studies and reads poetry hard. Throughout the ages, it seems that we can't find a calligrapher who is not familiar with poetry.

Wang Xizhi and Yan Zhenqing, famous calligraphers in Jin and Tang Dynasties, left their poems in the world, but their titles were too rich to cover up the names of the poems. And a generation of great poets, such as Li Bai, He, Bai Juyi, Du Mu and Lu You. From the preserved poems and traces, they are called "famous artists" without scruple, but their titles are too rich to cover up. Su, Huang and Mi, great calligraphers in Song Dynasty, were all great poets, and most of their masterpieces were their own "poems". Zhao Mengshun in Yuan Dynasty, Tang Yin, Wen Zhiming, Xu Wei and Dong Qichang in Ming Dynasty, Badashanren and Shi Tao, "Eight Eccentrics of Yangzhou", Zhao, Wu Changshuo and Kang Youwei in Qing Dynasty, Yu Youren, Qi Baishi, Pan Tianshou, Shen, Sha Menghai, and now Zhao Puchu and Qigong. , are collected poems (some even painted, managed printing). This is a major feature of China's calligraphy itself. The reason is also very simple.

Calligraphy and poetry are both "lyrical" means, but also a kind of "internal expression". Poetry pays attention to artistic conception, so does calligraphy. Calligraphy creators also hope that their calligraphy has an elegant and refined artistic conception. No ink on the chest, no poetry on the chest. Its books are hardly the natural expression of "literary talent", just as people often say that they lack "bookishness". As far as the generation and function of art are concerned, poetry, books and paintings are the same, and they often have the same effect in creation and appreciation. The same author's poems, form and spirit, and stippling all broke through the blank and created images. From this handwriting, the beauty of Vientiane flows out, that is, the beauty in people's hearts.

Because they come from the same "theme", or a vine, although they are different art categories, they can also penetrate and promote each other in artistic meaning and atmosphere.

Calligraphers write good poems, and good books are self-created poems, which is of course a great pleasure in life; The poet also has a good hand in calligraphy, which is equally gratifying. This is also an important reason why ancient outstanding calligraphers were also poets.