In the history of China's art criticism, Su Shi was the first to notice the blending relationship between poetry and other arts. One of his poems, "Two Broken Branches in the Master Book of King Yanling": "On the similarity of paintings, you can see neighbors with children. Poetry must be this poem, you know you are not a poet. Poetry and painting are unified, good weather, fresh and natural. Bian Luan bird sketching, Zhao Shen. Why are these two pictures so sparse and even! Who speaks a little red and solves boundless spring? " In fact, in Su Shi's view, whether it is poetry, ode or music painting, it is important to be able to make things clear in his chest and then make it clear in his hand. Su Shi has discussed this view many times in many of his articles. For example, in articles such as Wen and Gu Yan's Notes and Thank Teacher. In addition, Su Shi once said in "Praise the Writing and Draw Zhu Mo Screen": "The writing of harmony is the dross of its virtue. Harmony poem is the end of its text. Poetry is inexhaustible, overflowing in books and turning into paintings, all of which are poems. In his poems, good benefits a few people, and good is the same as good. Sad husband. " In the inscription to Zhang Xian's Ci Collection, he also said: "Zi Ye's poems are old and refined, and the lyrics are the echoes of niels bohr." Judging from these discussions, in the eyes of Su Shi, a genius with excellent poetry and calligraphy, any art form is a means to express his inner world. The highest state is "writing in the form of god", so he will inevitably come to the conclusion that "poetry and painting are the same"

Mr. Qian Zhongshu, who is famous for "learning from Chinese and Western cultures, learning from others' strengths, and memorizing fine notes", has two articles devoted to poetry and painting in his Seven Pieces Collection. The first article is "China Poetry and Chinese Painting", which discusses that although poetry and painting are interlinked, the poetry equivalent to the painting style of Nanzong is not high-quality or authentic in poetry, while the painting equivalent to the poetic style of Shenyun School is high-quality or authentic in painting. As for the reasons for this slight difference, Mr. Qian did not explain.

However, from what I have read, just from Su Shi's point of view listed in the article, there is such a problem. Su Shi put it this way in "After Painting in Wu Daozi Shu": "Those who know make nature, those who can describe it, not one person. A gentleman has been preparing for it since the Han and Tang Dynasties. Therefore, as far as poetry is concerned, the text is as far as Han retreats, the book is as far as Yan, and the painting is as far as Wu Daozi. The changes of ancient and modern times can be done in the world. " This is the fundamental reason why Su Shi juxtaposed Du and Wu-they are already masters in technique. Because, in art, the Tang people respected the law, and all the arts, in the Tang people, the law tends to be perfect. However, just as the greatest calligraphy is in Wang Xizhi and not in Yan Zhenqing, in the poem Wang Wei's Wu Daozi Paintings, Su Shi said, "Where can I visit Wu's paintings? Pumen and Kaiyuan. Kaiyuan has the East Tower, so you can leave fingerprints when you rub it. In my view of painting, there is nothing like two sons. Taoist priests are so heroic and vast. At the beginning, the wind and rain were coming, and the pen didn't go into the air. Graceful double forest, colorful dizzy. Some people talk about silence, enlightened people cry sadly, fans ask themselves. There are thousands of barbarians and ghosts, and strive for the first place. This poem is old. Pei Zhi attacked Sun Fang. Look at this mural today, if its poetry is clear and profound. The disciples of Tanyuan were as tired as cranes and their hearts were as dead as ashes. There are two bamboos in front of the door, and the snow festival penetrates the frost roots. Numerous leaves can be traced back to the source. Although Wu Sheng is wonderful, he is still a painter. Rubbing is beyond the image, just like a fairy thanking a cage fan. In my opinion, both sons are handsome and handsome, and Yu Wei is also talkative. " This is in line with Su Shi's view that art is vivid. Therefore, when discussing the similarities and differences between calligraphy and painting and the level of style, we can't ignore the significance and context of the discussant's expression of views.

Another work on calligraphy and painting in the Collection of Seven Pieces is Reading laocoon, which discusses that poetry and painting have their own limitations of expression, focusing on three reasons: First, Lessing admits that "language and words can describe the development of a series of activities in time, while color lines can only describe the spread of a scene in space". On this basis, secondly, the color and light in the poem may make the painter feel that the color wheel is bankrupt, and the outline and shape depicted in the poem may make the plastic artist feel that the chisel and brush are used up. Third, the common metaphors in poetry are the most embarrassing for painters.

However, poetry and painting have similarities. Whether it is poetry or painting, the most important thing is to express the "most pregnant moment". Only in this way can poetry be meaningful and the picture be imagined.

Perhaps, because Qian Zhongshu is a literary critic after all, this article mostly talks about poetry outside painting, but not about who painting is outside poetry.

In Ye's Poetics of China, there is an article "Outward Thinking: Media and Hypermedia Aesthetics". In his article, the media is not what we are used to, such as radio, television, periodicals and magazines, but refers to various artistic expressions of different nature. This article is very long. In short, it has been constantly emphasized by Pound and Eliot's poets and critics that an ideal poem should be liberated from the shackles of words and presented to readers in a lively way. It is similar to the ideal of China's traditional aesthetics, that is, the "implication". In this way, Mr. Ye emphasized that although Chinese and western aesthetics have their own systems, what poetry points to outside the text (meaning, poetic realm and world) is the same as the subject of aesthetic feeling. This "thing beyond poetry" provides a completely different angle for the transposition of poetry and painting with other media. Once this aesthetic stronghold is chosen, whether poetry can be painted is not a question of whether the media expression of poetry can reach the media expression of painting, but a question of whether poetry uses words; This painting uses shapes, colors and lines; Whether the arrangement of sounds used in music can provide the same or similar "aesthetic state"

This exposition, in Susan Langer's words, is probably a question of how to express emotions through forms. That is, the same emotion takes on different forms because of different expressions.