However, I have always held different views on this, and I think it is worthy of scrutiny to discuss Wang Wei's poems with "painting in poetry". A few years ago, I also talked with Mr. Chen Tiemin, an expert on Wang Wei's research. Mr. Chen has reservations about the theory of "painting in poetry" represented by literature and art. He once put forward different opinions in the article "The Art of Landscape Writing in Wang Wei's Poetry", and added the viewpoint that "I am in the landscape". However, it seems that his opinions have not been heard. At the same time, I think there is still room for further academic development, so I propose to discuss it again.
As far as the proposition of painting in poetry itself is concerned, "painting" should refer to the interest of painting, or painting. Mr. Deng believes that it has three meanings in poetry: first, it attaches importance to providing visual environment and creating the uniqueness of artistic conception; Secondly, convey the charm and interest of the visual environment with refined words; Third, "what can be painted but difficult to draw is clumsy when it comes to painting, but when it comes to poetry, it is the strength and victory of poetry, so it is not what' shape' can do, but what it means." The third meaning is divided into two kinds: one is dynamic or contains the time process of the scene; Second, although it is seen by the eyes, it is more felt by others, or it is related to the change of facial expression. Although talking about painting in poetry is different from painting itself, in the sense of general art theory, diachronic, empathetic and changing scenery is not suitable for painting materials after all, and it is basically opposite to painting. But they are the most poetic materials, and we can all see their successful application in the works of outstanding poets. This leads to a question: when we separate this meaning that is incompatible with painting from "painting in poetry", can "painting in poetry" still retain its original aesthetic meaning and support our aesthetic evaluation of Wang Wei's poems? It seems that, first of all, it is necessary to discuss the significance and value of "painting in poetry".
Second, the understanding of the relationship between poetry and painting.
Let's review laocoon and Lessing's classic analysis of the characteristics of poetry and painting. Although it is a cliche, people seem to have forgotten it. Regarding the difference between poetry and painting, Lessing first pointed out that poetry and painting are both imitative arts, and all the laws based on the concept of imitation are equally applicable to poetry and painting, but the media or means of imitation are completely different. The differences in this respect have produced their own special laws (P. 18 1). As far as plastic arts are concerned, "in the ever-changing nature, artists can only choose a moment, especially painters can only use this moment from a certain angle", so in addition to choosing the typical characteristics that are most suitable for expressing the object-such as Venus's dignity, dignity and elegance, rather than her long hair and anger in revenge-it is also suitable for expressing the moment that can produce the most effect, that is, "imagination can move freely" (P.83 Poetry "Poetry often has sufficient reasons to value non-picture beauty more than picture beauty" (P.5 1), so he asserts that the above reasons "completely come from the characteristics of art and its necessary restrictions and requirements" cannot be applied to poetry (P.22). Indeed, an artist usually cherishes the unique artistic characteristics of the art category he is engaged in, as Delacroix said, "Anything for the eyes should be seen; Listen to what is prepared for your ears. " This kind of treasure sometimes even becomes an absolute rejection of different artistic features. For example, we saw Turner's criticism of art history in Philosophy of Art, and Lessing also thought that Marjorie and Titian's integration of different plots into a painting was an invasion of the poet's field, which could not be praised by good aesthetic taste. From this standpoint, there are also neoclassicists and Schopenhauer who oppose the mixing of various artistic features. In the field of literature, there is a poet Pope who advocates: "Any writer who wants to be worthy of the title of poet should give up description as soon as possible." Here, the talent of poetry even stands out from the denial of description as painting. Are poems and paintings really so inconsistent?
We might as well review China's ancient views on this issue. Generally speaking, it may be thought that China's classical art theory tends to connect poetry and painting. A Japanese scholar, Mr. Yang Zhi, pointed out that this concept can be traced back to Lu Ji's words quoted in Records of Famous Paintings of Past Dynasties: "The prosperity of Danqing, the description of elegant songs, the fragrance of the great cause of beauty", which gave full play to Liu Xie's "carving dragons with literary mind" and "appreciating words by painting colors", and quoted Mr. Qian Zhongshu's "China Poetry and Chinese Painting". Here I would like to add a few more materials for future generations. Wang Xingyan in Ming Dynasty was the general commentator of poetry and painting;
Poetry is a picture with sound, made with clear voice; Painting is silent poetry, and culture is wonderful.
Qing Tang Laihe said:
A good poet has pictures in his sentences, and a good painter has charm in his paintings.
Modern Zhang Kezhong also said:
Poetry is a picture with rhyme, and painting is a poem without rhyme.
On the "Creative Motivationists", there is a sentence from Li Jing, the army and the people:
Scholar-officials praised feelings, wrote things, and entrusted paintings instead of poems. Therefore, there are paintings in poems and poems in paintings, and people's hearts can grasp nature and make it happy.
From the perspective of artistic structure, Dai has a generation:
It is well known that there are pictures in Wang Mo's poems and books, and there are poems in the paintings. I didn't know that all ancient poems had paintings, and all famous paintings had poems. Why is there still a long way to go? For example, mountains and rivers are undulating, trees are swaying, and smoke clouds are floating in the middle. Isn't poetry better? For example, feathers are flying and screaming, and you are looking forward to life. Isn't poetry better? For example, the characters are lifelike in clothes, but poetry is not as good as yeah? His painter's brushwork is vigorous, magnificent and beautiful, steep and vigorous, quaint and exquisite, magnificent and gorgeous, exotic and sparse, simple and neat, free and easy and round, but not all poetic?
From the perspective of artistic effect, there is Wang Yuyang's "Dried Powder Yuhua" Volume II:
I am a disciple of Guangling Zongmeicen. His name is Ding Yuan and I live in Dongyuan. His poem "Only Mobilization" is graceful and charming, and it is unique. I tasted the small painting of Wujiang ancient bridge and gave it to Yu, saying, "Red maple in Qingshan Wild Temple is white wine. At the painting place in the south of Mohan River, several fishing flutes started in Tingzhou. " Yu Fu replied with a quatrain, saying, "Dongyuan Red Maple Tree is a gift to Danqing Gu Kaizhi. Playing is actually a must, and there are pictures in poetry. "
However, this is only a one-sided statement, which does not agree with the similarity between poetry and painting, but advocates that poetry and painting have their own opinions, which also appeared in the Song Dynasty. That is, Mr. Qian's Reading laocoon was quoted by the philosopher Shao Yong's Poetry and Painting: "A good brush is better than a painting. The painter thinks skillfully, and everything is invisible. Poetry and songs are all good things, better than luck and sincerity. Dan Cheng enters the show sentence, and everything has no feeling. " As for the incompetence of painting in the face of diachronism, Xu Ning's "View of Fishing Terrace" (Volume 474 of all Tang poems) in the late Tang Dynasty has already said: "It is difficult to paint a heart and cry, but it is difficult to sound three times." This poem not only confirms Shen Kuo's assertion that "each painting can only draw one sound when playing music" (Meng Qian Bi Tan, Volume 17), but also questions Wang Yuyang's statement above: How is the picture of "several fishing flutes starting from Tingzhou" expressed? Even if it is not a few but one, how can it be drawn?
Of course, Wang Yuyang's paintings here are just ready-made compliments to his master. He doesn't know the limitations of painting in expressing hearing. Song Wan's poem "The Mountain Road is Broken" says: "In June, there are remnants of snow on the cliff, and thousands of people ride the night to draw a clear picture. Dan Qing is like Li Cheng. " Yu Yang commented: "Li Yingqiu was originally going to write about scenery, but can he write a cold spring painting angle?" Chen's "Good Things Near Summer Girls", "Swallows whisper with petals", also said: "Swallows can't paint in two words." It is not a profound truth that painting can't express senses other than vision. People with a little brains will understand it, so the ancients criticized it alone. Mr. Qian Zhongshu has quoted Shen Liao, Zhu Chen, Zhang Dai, Dong Qichang and Cheng Zhengqi since Chang Kang's "A painter swings five strings easily, but it is difficult to return to Hong". Ye Xie's The Original Poem: The Second Part discusses the beauty of Du Fu's Xuanyuan Palace, saying: "Anyone who can paint a poem can do something for a poet. If the rain and snow scene is empty, the painter can't draw it on the pen. If it is cold first, the scenery inside and outside, that is, Dong and Ju are resurrected, I am afraid I will stop there. " Obviously, "cold first", as a diachronic state, and "external", as a directional explanation based on virtual reality, have exceeded the limit that painting can convey, making the brush poor. Ye Zhu Gu Li Yu Tan (Volume 5):
"People are young and rainy, and sand roads are whiter than smoke." You Jiang, Li Lanqing and Xiang also wrote the sentence "Night on Wangjiang". I read it as a preface, and the preface appreciated it, saying that it was picturesque and unattainable.