The most interesting achievements of aesthetic criticism are the monograph on the relationship between poetry and art, the theory of poetry art, biographies and personal talks about this. The word "art" used in this paper refers to painting, sculpture, architecture and other arts, which is what many aestheticians call "main art". Although people still have differences on the definition of "art" or "main art", one thing remains the same: the above three arts are closely related and are sister arts. In addition, people often expand their "sisterhood" and include poetry, that is, the art of expressing reality by means of sound and immaterial words. However, poetry is not so much a sister of these arts as a god who rules all kinds of elegant and popular arts like Nimoni, the mother of the Muse. However, nowadays, poetry seems to have been reduced to a branch of literature, and poets are no longer the stars of public concern; They seem to be content to get a job as a waiter in the aisle leading to the art hall occasionally.
Art and poetry are similar in meaning, means, creative scope and artistic achievements. This view originated in the period when the aesthetic theory of "art is imitation" prevailed (see "imitation"). In Greek mythology, Pygmalion created a lifelike statue of a girl and fell in love with her. He prayed to God to keep the girl alive. However, through the ages, which poet can bring his works to life like the sculptor Pygmalion? Because artistic activities are regarded as "imitation" and artists are regarded as masters who use the pen of genius to express things, the above three arts naturally blend together, especially in the period when pseudo-Aristotle theory prevailed in the Renaissance. By the end of 17, the most commendable "imitation" creation successfully reflected the understanding of neo-Platonism, showing the compound beauty higher than natural existence, so painting, sculpture and architectural art were closer to the art of poetry.
At that time, although the dominant position of poetry in the above three arts was challenged and sometimes even denied by painters, especially Leonardo da Vinci, on the whole, poetry was still a model of various arts. Many famous poets have found that painting, sculpture and architectural art all contain poetry-beauty, freedom and "poetry", all of which are "poetic arts". Painters, sculptors and architects often label their works as "poems", and almost everyone thinks that the poet's creation is more "philosophical" than philosophy.
Regardless of individuals, groups or "schools", poets should evaluate painting, sculpture and architectural art and distinguish between high and low. They encourage and affirm these arts individually or at the same time; They also draw their own unique brilliance from these arts, adding luster to their own poetry art, or borrow the principles of these arts to enrich poetry theory.
Magnificent, strong, bold and powerful.
Let Angelo play Milton.
Love poems are moving and love paintings are wild.
Let Valle compete with Tishin.
(A Nong: Happy Mountain, 1777)
Until the beginning of the 20th century, painting has always been the most appreciated art of poets. Although there is no statistical data as the basis, people can still guess that poets in past dynasties described painting, painters and painting art more than architectural art, sculpture, architects and sculptors. Of course, architectural art and sculpture art also inspired poets to create some wonderful poems. For example, poets such as Holderlin, Rambo, Rilke and Georg all have excellent works in this field. Another example is Keats' Ode to the Ancient Greek Urn and Wordsworth's Inside the Church of King's College, Cambridge. Perhaps no English poem describes the art of painting.
As an epic form, historical painting represents the highest achievement of painting art in the late Renaissance. Pastoral poets call themselves "landscape painters" and are glad that painters imitate them, claiming to be "poets" who "write poems" with colors and images or expressive lines and outlines. Claude Lorraine is known as "Te Aucry Toth" and "Virgil" landscape painter. Reynolds pointed out that Michelangelo "introduced painting into the field of poetry", which is comparable to "the most creative Homer and Shakespeare in this field" (Conversation, 15, 1790). /kloc-In the 9th century, a group of English poets drew paintings from the works of pre-Raphael painters in the past. "Painting poetry"-that is, painting described by literature or painting described by sound-also appeared in large numbers, even prevailed for a period of time, and only declined in recent years. Many picturesque prose poems have also come out one after another, among which the most praised are the picturesque prose works of some famous novelists and essayists. Poets, poetry critics and aestheticians compete to absorb many terms of painting art and apply them to poetry art. Poets show great interest in almost every stage of "modern painting". More importantly, in recent decades, oriental paintings, especially those of China and Japan, have been attracting western poets.
Sculpture is an art second only to painting, and it is deeply loved by poets. The simplicity, completeness and magnificence displayed by those towering statues and monuments will inspire poets to create similar images in their poems. /kloc-Thomas, an English poet in the 20th century, created a vivid image of salter in Tristan's The Hall of Images. Many Renaissance poems and poetic dramas reproduce the sculptor's "natural reproduction" and vivid and colorful figures and tomb statues. Neoclassicism and romanticism poets created the beauty of the heroine by taking the statue of Venus as a model. Among them, the most famous is the image of Musidora created by James Tom in The Four Seasons (1730). They also referred to the statues of Apollo, Bacchus, Fan En, the god of agriculture and animal husbandry, and the king of Athens, and created many male heroes in their poems. In Shelley's poems, there is an image of sculpture. In the works of poets in the19th century, there are numerous representations of Greek, Egyptian, Gothic or Druid statues. Some scholars have pointed out that the characters created by Blake to commemorate the universe come from many dazzling statues in the Temple of Luos, Greece. These statues, such as line carvings, relief carvings or vertical carvings, are varied and similar to the original works. Apart from being more and more interested in the myths, history and skills embodied in complete or incomplete ancient marble statues, the poet may be most envious of the sculptor's highly respected talent-expressing or reproducing people's feelings, * * *, feelings and thoughts with materials that are more lasting than words and sounds. The poet believes that sculpture represents some great "moments" in life-whether it is the white marble statue or the grotesque shape on the ancient urn, it will last forever and shine forever.
Poets in many countries have found that there are many similarities between poetry and sculptors in meticulous description, reasonable layout, prominent outline and relief techniques, whether in plane or three-dimensional modeling. As a result, some poets have become "word sculptors"-creating "statues" for their poems with words. After visiting the sculptor's studio and art exhibition hall, reading the illustrations in the book or watching various jade carvings, intaglio works, dynamic or static busts, deep and shallow reliefs and finely carved ancient urns, they went to "carve" their own "jade". Even in the heyday of calligraphy and painting, some poets, under the strong influence of carving art, still created word carvings in Alexander's poetic style. The book Jade Carvings in Walter Savage Rand's Works by E·C· Steedman and T·B· Aldridge (1874) provides an example of this. Later, Ye Zhi gave the highest praise to the gold and ivory carvings and inlays made by Byzantine craftsmen in Justinian era in East Rome, and even hoped that he would become a perfect work of art, thus promoting more exquisite and immortal gold works of art to come out. Keats also hoped that he could devote himself to the bleak Garden Metallurgy displayed on the ancient Greek urn. However, Ye Zhi prefers to turn himself into a work of art to play a dual role: on the one hand, he is the object of appreciation, on the other hand, he is the evaluator of life. There are also some modern poets who once dreamed of creating "word carving" or dreaming of becoming a carving art.
/kloc-since the 0/9th century, poets and poetry theorists have often borrowed sculpture art to create poetry criticism terms, such as "sculpture-like beauty" and "sculpture-like beauty". The skills and principles of sculpture works, sculptors and sculpture art have influenced the poets of dance school, "Imagist School" and "Objectivism School" in the early 20th century, as well as many poets who do not belong to any genre. In the United States and Europe, many poets advocate that the comparison of "painting and poetry" proposed by Horace be changed to the comparison of "sculpture and poetry".
However, today, the new popular idea in the field of poetry is to write "architectural poems" following the example of engineers and scientists who design and plan stadiums, highways, urban layouts, skyscrapers, residential areas, industrial areas and elegant houses. In a word, the architect's works not only have the grandeur and magnificence described by art critics in previous dynasties, but also have functional value. Hart Crane, a modern American poet, used the famous Brooklyn Bridge as the epic symbol of this poem, although there are some defects in its structure and achievements.
In addition, architectural art provides critics with critical terms far beyond painting and sculpture. Concepts related to architecture, such as structure, frame of reference, design and architecture, can all be applied to poetics and poetry creation. Critics can also use architectural terms such as ingenious conception, simple decoration, symmetry and economy to comment on poetry, or use architectural terms such as organic, dynamic and functional value to comment on the structural principles of poetry.
From the Renaissance to the19th century, many critics, artists and poets studied the relationship between art and poetry. If they see the changes that have taken place today, they will be surprised: the interest of poets and poetry critics in absorbing professional knowledge of painting, sculpture and architectural art has increased sharply; At the same time, poetry has also fallen to a relatively humble position. When poetry is reduced to a small branch of literature, the status of other sister arts is greatly improved. Among them, "modern music art" and her close relatives, the architectural art that experienced the severe winter and ushered in the spring, are in full bloom. If a critic of17th century comes to today's world, it is difficult to find a poet who paints with words. On the contrary, he will find that craftsmen are learning superficial knowledge or decorative skills of various arts. At the same time, these skilled craftsmen can also show various "poetries" in their round carvings, jade carvings, icons, inlaid handicrafts, metal handicrafts, comprehensive paintings, collages, hanging or fixed decorations. Then, he will see that poetry has lost its dramatic, epic, narrative and educational wings; Poets strive to become experts in mastering some artistic skills; However, craftsmen who work in various fields of popular art have broken into all artistic fields that originally belonged to poets.
Critics in the past may come to the conclusion that today's poetry only exists in a "poetry reserve" with strict defense and delicate singing. A poem can be infinite in meaning or meaningless; But first it was created as a work of art: "A poem is a poem-this is a poem." Who can complain more about this? However, if our understanding of poetry is limited to this, then all poetry criticism will lose its value.