There is a universal poem that is reflected in everything. This statement is close to Baudelaire's thought, that is, there is an undiscovered and basic aesthetic or order, and poetry and painting are its manifestations. However, in this case, sculpture, music or any other aesthetic realization is also a kind of expression. We will summarize and expand: there is a universal poem, which is embodied in everything, or may have a basic aesthetic. Poetry and painting are interrelated but unfamiliar forms of expression. A detail, a sentence or a comment about painting can often be applied to poetry. In fact, it seems that all comments on painting, especially the painter's own comments, are as meaningful to poets as to painters. All these details are equally important to poets and painters, and are concrete examples of the relationship between poetry and painting. If a painter chooses structure as the common denominator of poetry and painting, he actually chooses a technical feature, even if he is not considered an expert. Poetry and painting are also created through structure.
The painter finished his work in consideration of form and color. He faced these problems again and again, not by inspiration, but by imagination or mysterious reasons inspired by imagination. In short, both poetry and painting have a common labor element. In practice, it is not only a kind of labor, but also a kind of perfection. To prove this point, let me inadvertently put the poems in Proust's giant novels together with Jacques Veron's paintings.
For Proust, I quote a passage from Professor Salat: "Another field he added to literature is the description of those eternal moments, in which we were promoted and surpassed this dreary world ... Madeleine snacks soaked in tea, steeples in Martinville, some trees on the roadside, the smell of wild flowers, the illusion of light and shadow on the trees, a spoon jingling on the plate, just like a railway worker's hammer banging on the train, from which we can see. A stiff napkin in the hotel, the difference between two stones in Venice, and the chaotic courtyard of Gulmant City Hall ... "As for Wei Yong-there is a charming wisdom in all his brilliant materials. A woman lying in a hammock was transformed into a complex of plane and tone, gorgeous, hazy and accurate. A teapot and a cup or two occupy their place in truth, which is made up of unreal things. These works are spiritual feasts, which are different from the pleasure of feeling, because you will find the accurate calculation of labor and the desire for perfection in them.