Who are the "Three Masterpieces of Poetry, Calligraphy and Painting" in the cultural history of China?

Since Wang Wei put forward the argument that "there is a picture in poetry and a poem in painting" in the Tang Dynasty, China traditional calligraphy and painting has established an inseparable relationship between poetry and painting. In Song Dynasty, Zhang Shunmin even said that "Poetry is an invisible painting, while painting is a tangible poem" in "Poems and Paintings with 1 Postscripts", and Huang Tingjian, a great calligrapher, also said that "Li Hou refused to vomit, but he wrote silent poems in light ink", but at that time it was only about the realm of painting. Since the Tang Dynasty, people have written poems with paintings. Du Fu, the poet sage, has a poem with the title "Painting Eagle". However, these poems with paintings are not personally inscribed by painters, but are unique as poems. After the development of traditional calligraphy and painting in China in the Ming and Qing Dynasties, there gradually appeared poems with paintings inscribed by painters. For example, Zheng Banqiao's well-known poem in the painting Bamboo Stone in the Qing Dynasty: "Insist that the green hills are not relaxed, and the roots are in the broken rocks. Thousands of blows are still tough, and the wind is southeast and northwest. " This poem is a description of the scenery in the picture, and it is also a feeling after the life experience. The bamboo in the painting is personified. If this poem is only a self-metaphor of the author's personal character, then the poem inscribed by Tang Yin (word Bohu) in Ming Dynasty on a pure lady painting "The Autumn Wind Fan Map" is a straightforward allegory: "Autumn wind fans are collected together, so why should beautiful women be sentimental?" Please look at the world in detail, most people don't drive away the cold. " It can be seen that the poems with paintings can not only bring out the best in each other, but more importantly, the poetry and painting have a higher sublimation.

For a painter, to be able to write poems with pen and brush, he should not only draw well, but also write beautifully, and he should have a good knowledge of calligraphy. If all three are excellent, he will be praised as "the three wonders of poetry, painting and calligraphy". This requires a painter to have a comprehensive education. However, since the Republic of China, especially the rise of vernacular poetry after the May 4th Movement, people have belittled the classical poetry in traditional culture, which has affected the inheritance of China's traditional poetic spirit, and the so-called "three unique skills of poetry, calligraphy and painting" has gradually declined. Confucius said, "If you don't learn poetry, don't use words", but nowadays, you can paint without learning poetry. Especially in the contemporary era, even if you are engaged in Chinese painting creation, you only value painting skills such as pen and ink, composition and color, but don't pay attention to comprehensive humanistic education. They have made innovations on the basis of tradition, but they have also lost something. The relationship between poetry and painting in Chinese painting has been forgotten, not to mention the "three wonders of poetry, painting and calligraphy". Even if the title is difficult, their painting and calligraphy are far from the traditional theory of the same origin of painting and calligraphy, and they are gradually drifting away from poetic painting.

It's gratifying that although there are only a few people, there are still people who pursue the realm of "poetry, painting and calligraphy". There are two people worth mentioning in China painting circles in our province: one is Lu Muxun, a representative figure of contemporary New literati paintings, and the other is Zheng Yunling, who has a good knowledge of traditional culture.

Wu Zhangshu, a famous classical poet, commented on Mu Xun's poems and paintings in this way: sincere, simple and natural, without ornamentation, as clear as words. But I think, in addition, Mu Xun's poems and paintings have another feature. As he himself said, he pays attention to the harmony between the style and composition of the book and the picture, and the meaning of the book should be in harmony with poetry and painting. Therefore, his poems and paintings are integrated into one, smooth and free, fresh and free. For example, "the green bamboo is rustling and the color is new, and the air is pleasant in a day." You may wish to look at the greenery, and Yuyu is clear and there is no dust. " ("Ji Zhu") Reading such a flowing poem, looking at such a vivid painting, and appreciating such a simple and ethereal book, it suddenly feels extraordinary and makes people enter a rich traditional cultural realm.

Zheng Yunling's poems on paintings are full of external enthusiasm. Because his paintings have a wide range of themes, and many of them are based on real life, his poems on paintings are both rigid and flexible, and the scenes blend. For example, in a painting of the People's Liberation Army standing guard with a gun, he wrote such a five-character poem: "Standing on the border is indestructible. A pair of thousands of miles, always looking at safety. " Only 2 words, succinctly and powerfully depicting the image of a warrior, and in harmony with the picture. During the SARS period, Zheng Yunling also created a heroic figure painting entitled "Dressing Up". On the picture, a angels in white is putting on her hat, in front of which are blooming peonies, and inscribed a seven-character quatrain: "angels in white is dressed up, swearing to protect people's health. Repelling the plague is really a national color, and all directions are fragrant with flowers. " This painting borrows the praise of peony's "national beauty and fragrance" to the medical staff in real life, integrates figure painting with flower-and-bird painting, and inscribed this straightforward seven-line poem, giving people a unique feeling.

The "Three Masterpieces of Poetry, Calligraphy and Painting" can be said to embody the essence of traditional culture in China, which has a strong national character. However, it is permissible for painters to have different pursuit orientations at the present time of artistic diversification. But I want to say: any art has its times and its eternity, that is to say, it depends on the artist's education and how to find his own way in the diverse art world.