Du Fu is a poet, not a painter, but he has close contacts with many famous painters in the Tang Dynasty, has the conditions to see many famous paintings, and has a high appreciation of painting art, which provides him with a solid life foundation and a good artistic environment for writing poems with paintings. During the Tianbao period, he had contacts with Wang Wei, Zheng Zhou, Liu Dan and others. During the Anshi Rebellion, he fled to western Sichuan, made friends with Sichuan painters such as Wang Zai, Cao Ba and Wei Yan, and wrote more than 20 excellent poems on paintings. His thoughts are unique, his style is ups and downs, and his momentum is vigorous and stirring. "Future generations often live in it" has opened countless methods for future generations to paint poems. Generally speaking, Du Fu's poems on paintings can be divided into three types: one is a painting dedicated to a painter, which is a typical poem on paintings, such as Painting Eagle and Song of Wei Yan and Shuang Song; Second, the painting art of pan-chanting painters is to paint poems, such as "Dan Qing gives General Cao Ba" and "Watching Xue Ji's Painting and Calligraphy Wall"; Third, write the painter's life and thoughts with poems, such as "Drunk Song of Dr. Guangwenguan" and "Eighteen Households of Zheng in Huaitaizhou". Among them, painting poems and painting poems have the greatest achievements. In the Tang and Song Dynasties, no one could compare with them. Everyone said so.
Du Fu's position in the history of poetry and painting, Fang's "Zhao Mei Zhan Yan" Volume 21 once said:
I haven't seen poems with inscriptions before the Tang Dynasty, and Lao Du also started with this style.
Fang's statement that Du Fu is a pioneer in poetry writing is inappropriate. Judging from the development history of China's poems with paintings, there were poems with paintings before the Tang Dynasty, but they were still in the primary stage, and the art was still immature, such as Ye Tao's Three Poems of Answering the King's Tuan Fan in Jin Dynasty and Qiu Juyuan's Singing Seven Treasures Fan in Qi Dynasty. In the Northern Zhou Dynasty, Yu Xin published "Twenty-five Poems on Screen Painting", with a clear purpose and detailed picture description. In the Tang Dynasty, poems on paintings gradually matured. Song's "Fu on the Crane on the Provincial Wall" was dedicated to Xue Ji's crane painting. Xu's Xiangyang Map is a poem about his own Xiangyang Map. Li Qi's "Li Bing Cao Mural and Water Sails with Ghosts in Landscape", dedicated to Cao's (unknown) landscape mural; Wang Wei's Ode to Cui Xingzong * * *, his portrait of Cui Xingzong, Liang Yong's View of the Obstacle in Wang Meiren and Wang Meiren's Picture Obstacle are all works in line with the artistic characteristics of epigraph poems. Li Bai, who is older than Du Fu, wrote many poems on paintings, combining natural beauty with painting beauty, painting beauty with poetic beauty, and painting with poetry. He was one of the poets with high artistic attainments in the early Tang Dynasty. It can be seen that before Du Fu's death, the development of painting poems gradually matured, and Du Fu was not the pioneer of painting poems. Compared with contemporary poets, Du Fu wrote the largest number of poems with paintings, the highest artistic attainments and the greatest artistic achievements, which opened up a generation of ethos, and later generations often made a living from it. His poems with paintings have the following five aesthetic characteristics:
First of all, write poems with pictures in the style of songs.
Du Fu likes to write poems on calligraphy and painting in the form of songs, such as Biography of a title of generals in ancient times, Song of Painting Stork by the teacher, Painting Eagle by Jiang, Introduction to General Cao Ba by Dan Qing and so on. This poetic style makes it easy to tell stories and sing them. Free sentence patterns, changeable opening and closing, easy to describe, express and express with a pen.
Painting by Dan Qing to General Cao Ba is a masterpiece. The whole collection of poems is narrated, discussed and lyrical in one furnace. The composition is ups and downs and the momentum is surging. Only with learning books can we draw horses. With real horses, disciples Han Gan and Cao Ba, we have the prosperity of the past. "How many facts, how many arguments and how many setbacks are all in the scale." Shen Hanguang even said that he was "the first hand in ancient and modern painting" (quoted from the detailed explanation of Du Fu's poems in autumn).
Liu Shaofu's "New Painting of Landscape Obstacles in Fengxian" also uses singing method, and the whole article is divided into six layers of poems: the first four sentences, the first layer, painting; The following six sentences, "countless painters", the second floor, appreciate painters; The following eight sentences, the third layer, write pictures and praise the art of painting; The following six sentences, the fourth floor, describe the scenery of the picture; The following eight sentences, the fifth floor, praise the painter and write the scenery; The last four sentences, the sixth floor, appreciate the art of painting. The poet does not use the usual way of depicting pictures and appreciating painting techniques, but uses a variety of expression techniques, which are deep and expressive, poetic and changeable, open and close freely, poetic and mellow, adding endless artistic appeal. Huang Sheng's "Du Shi Shuo": "Painting and appreciation are divided into several layers, repeatedly." His comments just show the beauty of Du Fu's poems and songs.
Secondly, don't stick to the picture.
Du Fu's paintings are not limited to pictures, but are often true or false, which makes people unpredictable. He can almost combine poetry and painting to write infinite feelings. Painted eagle:
Plain practice frost, eagle painting extraordinary. Thinking of a sly rabbit, I look like a worried Hu. Optical rotation can be picked up and called Xuan. When you hit every bird, your hair and blood will splash out to smooth the weeds.
The poem begins with the real eagle, and in four sentences, it describes the eagle's painting vividly and vividly, and ends with the feeling of the real eagle, imagining that the eagle hits each bird as a knot. "Take the wind to think hard, and the evil is like hatred, and expose it together" (Pu Qilong's Reading Du Xin Jie), which is an aesthetic feature that is neither sticky nor detached. As Wu Zhantai commented: "If you write an eagle but don't write it, if you write an eagle but draw an eagle, you have no idea about the change." ("Du's Topics" Volume 7)
"Wei satirizes Cao Ba's painting of horses" is the most distinctive poem about horses;
At the beginning of the country, I came to draw pommel horses, like a master-Ling, Prince Jiangdu.
Then the general sergeant turned the eyes of the world to compete for the royal horse through his 30-year fame.
He painted the luminous white horse of the late emperor, Ten Days Leifeilong Lake.
The crimson horse brain plate in the inner palace, the talk of ladies-in-waiting, and the miracle that attracts people's attention.
Give the general a farewell dance, in this rare gift, followed by swift and exquisite silk.
Many nobles demanded his art to add new luster to their screens.
In the past, Emperor Taizong used to add fists and feet, but recently the Guo family was a teacher.
But now in this painting, I see two horses, which is a thought-provoking sight for anyone who knows them.
They are war horses. Either way, it is possible to face 10 thousand people. They let the white silk extend to a vast desert.
The other seven people with them are almost as noble. It is cold and empty.
Horseshoe splits the snowdrift under the big tree. There are a group of officers here and a group of servants there.
Look at how these nine horses compete with each other, with a clear glance and a firm breath.
Who understands the difference? Who really cares about art? The post-Wei satirized the former Zhi Dun.
I remember when the late emperor went to his Summer Palace, Cui Hua blew into the eastern sky.
30,000 horses, prancing horse, Mercedes-Benz, fashionable, each like the horse in this painting.
But now the ghost of the emperor got the secret jade from the river god, because the emperor no longer hunted crocodiles by the river.
Have you ever seen the pine and cypress in front of the golden millet heap, a bird lamenting that the emperor's horse is gone in the wind?
In this poem, painted horses and real horses are repeatedly described alternately, and they do not stick to the image of horses installed in the picture, thus making comments and writing the rapid changes of Cao Ba in the past and present and the rise and fall of the Tang Dynasty. Liu's "On Poetry" Volume III: "Thinking about horses rises and falls, thinking about the country rises and falls."
This artistic technique initiated by Du Fu is often imitated by later generations. Fang Shudong's "Zhao Wei Zhan Yan" volume 21 said: "The whole method is not limited to painting, such as drawing a horse and an eagle, and then discussing it from a real horse and an eagle, which can be used by future generations."
Third, praise paintings and painters.
Du Fu's Song of Wang Zai's Painting Landscape: "Draw a water in ten days and a stone in five days. Only when he can do something that is not persecuted by the other party will Wang Zi be willing to leave the original work. " Four poems, first praise the painter Wang Zai and write his serious creative attitude. The next seven sentences are the specific content of "leaving the book": "The Kunlun square pot is strong and hangs on the wall of Jun Gaotang. East of the Dongting in Baling, Japan, the Chian water is connected with the Milky Way, and Yunlong is in it. Boat people and fishermen enter Pu Yin, and the mountains and rivers are all in the wind. " Write pictures and praise the magnificence of his paintings. Wu Zhantai's "Du's Topics" Volume 6 said: "Painting * * * is a true guide, leisurely seeking, elegant and unparalleled, and the identity of a painter is vividly on the paper." Through the description of the landscape in the picture, the situation carefully conceived by the painter came out, so Jin Shengtan praised: "Not only wrote a wonderful picture, but also wrote a wonderful person of Wang Zai." (The Genius Du Jeff, Volume 2)
Du Fu's Song of Landscape Obstacle in Liu Shaofu's New Painting in Fengxian is a typical example of both painter and praise. "There are countless painters, and the players are hard to meet. If you are in harmony with this, you will know that you are heavy. However, the handwriting of Qi Yue and Zheng Qian is far more than that of Yang Qidan. " This poem first praised Liu Dan positively. When painting, he can "melt his heart" and attach importance to pen and ink skills. His painting skills are superb and unparalleled. Among countless painters, he is a rare master. Then, with the Sui Dynasty painter Yang Qidan and contemporary painters Qi Yue and Zheng Qian as the foil, Liu Dan's painting skills are highlighted. Another cloud said, "Liu Hou is a genius, who loves to paint into the bone marrow. You have two sons to play with, but you can't compete with them. The eldest son is very clever and added to the cliff at the top of the old tree; The child's heart is open. He looks like a monk and a boy. " The poet further praised the painter Liu Dan's passion for painting. His two sons are ingenious and can make up old trees, monks and boys in paintings. Praise my son is also to praise Liu Dan's painting skills.
Du Fu praised both the painter and the painter, and at the same time, there are many examples of "painting and appreciating", such as Painting the Stork, Painting Wei Yan's Horse Song on the Wall, and Song of a Pine Tree in Respect of Li Zun's Teacher, all of which have the same effect, and readers can appreciate them carefully.
Fourth, make the pen picturesque and draw every sentence.
Du Fu's poems are rich in painting and have the aesthetic characteristics of "painting in poetry". Guo Zeng, a painter in the Song Dynasty, excerpted some poems from Du Fu's poems, such as "I am in the north, I am in the south, spring water is flooding, and I have only seen gulls day after day", "The water is far away and the sky is clear, and the lonely city is covered with fog". This poem "There is a picture in the poem" can be easily picked out in Du Fu's anthology, such as "Jueju": "Birds in the river cross the white mountains." A Night in a Foreign Country: "The stars are as wide as Ye Ping, and the moon runs to the upper reaches of the river." "Looking for Flowers Alone by the Riverside": "Butterflies dance from time to time, and Jiaoying just crows." This aesthetic feature has long been seen and emphasized by the previous generation of poetic theorists. For example, "Ten Poems of Yizhou Song": "LAM Raymond Citrus, Danqing Lotus, Fudao Heavy Building, Embroidered Hanging." Pu Yin Long's Reading Interpretation said: "Poetry can be painted. Green and red overlap, and the buildings are uneven. Not too lonely for the mountain. " Another example is "Wild Old Man": "The wild old fence belongs to the river bank, and Chai Men is not talking one by one. It is estimated that the passenger ship will return with the light when the fishermen gather in Chengtan. " Huang Sheng's "Du Shi Shuo" Volume 9: "The former picture depicts the evening scene, but it is actually a picture in the poem." Many painters in later generations like to paint with Du Fu's poems, such as Du Jin's Painting of Ancient Sacred Poems, Zhou Chen's Painting of Chai Men Poetry and Zhang Ya's Painting of Du Fu.
Du Fu painted with a picturesque pen, which formed the aesthetic characteristics of his painting. Xun pointed out this feature in "On Painting in Jingshan", saying: "If you write poems by yourself, you can only make the pen picturesque."
Du Fu's poem "Painting the Eagle" is inscribed in the first couplet, describing the painting of the eagle as lifelike. The couplets are interlocking, describing in detail the ingenious way of drawing an eagle, just like a real eagle. Necklace couplets are still writing "extraordinary paintings", writing the imposing manner of painting eagles, and they are ready to come out. At the end of the couplet, the poet changed from painting an eagle to a real eagle, and sent out the poem of artistic intention of "killing a hundred birds", which was written sentence by sentence with an eagle and could not be separated from painting everywhere. In the neat and rigorous meter, the poem pen is smart and flying. Jin Shengtan's Talented Du Shijie, Volume 1: "Every sentence is an eagle, and every sentence is a painting." Wang Shizhen's "Poetry in Class" Volume III GA996 About this poem: "The meaning of life is fine, and every sentence is not spoken." That's a real comment.
Twelve sentences in Du Fu's poem Ten Rhymes of Tuojiang Painting in Minshan:
Bai Bo blows white walls, and green deer carves beams.
I was stunned by Leng Songsong, and I suspected that it was the fragrance of Linghua.
Snow clouds are dotted and sand and grass are faint.
The geese in the mountains follow the silk, and the cicada drinks lightly.
Chizhou is chaotic, and the stone is long.
The valley was dark, but it wasn't raining. Fontaine doesn't need frost.
Describe the scenery of every part of the picture in detail, draw pictures with real scenes, draw pictures for every sentence, but you can't see the words. Du Gongbu's Poems, Volume 11: "The first sentence of this article is picturesque, and politics seems to be inseparable." In Volume XIII of Liu Zhuo's Comments on Du Fu's Poems, Cha was quoted as saying: "The beauty of mountains and rivers shows every sentence. The mountains and rivers rise together, and the following sentences are shared. "
Fifth, painting is the method of poetry.
Taking painting as the poetic method is a unique way of expression that distinguishes poems from ordinary poems, which embodies the artistic characteristics of poems. Du Fu was the first person to use this technique. Liu Shaofu's New Painting Song in Fengxian is a masterpiece of poetry written by painting. Du Yi of Wang Siyuan made the following analysis:
There are six kinds of painting methods, vivid charm is the first, bone method is the second, and brushwork is the second. Du Fu used painting as his poetic method, and his whole words were rhythmic, secret and full of charm. For example, "The Maple Tree is Out of Class" suddenly rose, and suddenly it entered "Storm in the City", and suddenly it entered the second son swing, and it was a bone method. In the end, because of his appearance, the monk suddenly turned to Ruoye, Yunmen, green shoes and cloth socks, but he stopped. He wanted to draw a wonderful way of operation. The most famous painter in the article is Samadhi, especially the phrase "vitality is dripping, obstacles are still wet". Imagine that this painting is still in sight. There are pictures in the poem, I believe it!
What Wang said is very reasonable. The third volume of Liu's On Poetry also focuses on this point, saying that "painting is a poetic method that runs through". Wu Zhantai's "Du Shi Yao", Volume 5, said: "When I came, I painted with truth, and when I died, my spirit became vivid and ethereal, similar to painting." Painters unanimously praised Du Fu's techniques.
Du Fu's "Dan Qing to General Cao Ba" has ups and downs, repeated waves, complete beginning and end, and echoes before and after, and uses the method of lining the main body with objects in the painting as the poetic method. Ye Xie also made a detailed analysis of this poem, using painting to analyze the composition of Du Fu's poems. The original poem:
General Gaidanqing gave priority to learning books; Turning rhyme to draw a horse is the main task, the hero is the first guest, and the management is very strange and complete. ..... and then praised the general's good painting, including cleaning up, ending with the emotional department. The composition is so rigorous and extremely casual.
Du Fu knew the painter's ignorance well, so he was able to write an inscribed poem "Imitating the Unique of Danqing" (Reading Du Xinjie by Pu Qilong). Only by analyzing the composition of Du Fu's poems on paintings can Ye Can fully display the characteristics of Du Fu's poems on paintings.
Many artistic techniques of Du Fu's poems on paintings are unprecedented, and numerous methods have been opened. Shen Deqian's "Re-edited Collection of Tang Poems", Volume 6, said: "The inscribed poem has been in a different place since Shaoling, and later generations often live in it." Du Fu inherited the creative experience and fine tradition of the previous generation and contemporary poets who wrote poems by painting, carried forward, innovated and changed, created many unique skills that integrated the art of poetry and painting, opened up a new realm, created a generation atmosphere, and became a model for later poets to learn. Qiu said in a detailed note (Volume 4) on Du Fu's poems painted on the Tuojiang River in Minshan Mountain: "The ancients commented on this poem as the ancestor of the Song Dynasty." Liu's "Poetry Talk" also said that this poem was "the ancestor of painting in Song Dynasty", which greatly promoted the historical process of the development of China's poems with paintings and made outstanding contributions to the integration of poems and paintings in later generations.
(Author: College of Literature, Suzhou University)