Since ancient times, well-known works of art have emerged in an endless stream, and the flexible use of virtual and real techniques has made painting and poetry have a breathable and exquisite essence. When readers savor them carefully, they always hope to deepen their meaning, that is, they can finally reach the artistic realm of "endless words and endless meanings"
The "cooperation" between painting and poetry means nothing more than two kinds: logical integration, mutual communication, you have me and I have you, and often artistic conception is the channel for their communication. The second is the combination of space, that is, the combination of poetry and painting. Su Shi evaluated Wang Wei's poem as "a poem with charm and pictures;" Look at the picture. There are poems in it. "As a poet and painter, Wang Wei combines the two perfectly, giving people an ethereal and immersive feeling. Generally speaking, because art is interlinked, painting will give people an extremely intuitive visual impact. For example, China's traditional paintings and ink paintings are good at expressing the aesthetic feeling of virtual reality with pen and ink rendering, while poetry is an advanced style with artistic essence, which contains various artistic forms and expressions in an abstract way. " Poetry is the most impure language. "The most essential function of language is to convey information. Once the author's creative mentality, flexible expression skills, the poet's own feelings and rich philosophical information in the text are added, readers will have the feeling of "looking at the text and knowing their heart".
Paintings and poems are the second combination of painting and poetry: non-abstract fusion. The given concepts in historical materials can be divided into narrow sense and broad sense. In a narrow sense, it is "poetry written on a picture frame", while in a broad sense, it is more comprehensive: that is, literary works with poetry as the theme and painting as the meaning, or appreciation, or interest, or discussion, or allegory. Therefore, a painted poem should be based on painting and written after painting, and the content of this poem should be closely related to the content of painting.
First, the relationship and difference between poetry and painting
Horizontally, many artists in the East and West have expressed their views on the relationship between ancient poetry and painting. The representative writer's work is Lessing's laocoon, which marks the peak of scholars' discussion on this issue in the period of18th century. In laocoon, Lessing believes that "all art is the representation and reflection of reality, and it is the result of imitating nature, which is also the same law of art". However, although poetry and painting are artistically interlinked in some aspects and in a certain scene, they are always different in many directions. For example, painting, sculpture and other arts only use colors, lines and images as media, rely on vision to convey information, and are good at expressing the theme of "all or part of the spatially juxtaposed' objects and their attributes'", and the artistic effect is to complete the characteristics and personality of the described person.
On the other hand, poetry takes language and sound as the media of communication, and gives priority to auditory expression. The former is intended to express the suggestive moments of moving people and things, so that the viewer has the space to think about the past or future state of people and things in the painting. The latter is to turn static into dynamic, so that readers can realize the emotional and psychological state and vivid image of people revealed between the lines. The western interpretation and cognition of the relationship between poetry and painting eventually changed from "sister art" to "parting ways". Racine believes that "action is the unique theme of poetry, and the unique theme of painting refers to objects and their visible properties ... time belongs to the poet's field and space belongs to the painter's field." Poetry and painting in the eyes of westerners have completely different artistic forms.
Then, when the western views spread to China, some people began to publish more comprehensive and reliable views than before. In Reading laocoon, Mr. Qian Zhongshu also summed up and agreed with Lessing's view on the relationship between poetry and painting, but on this basis, Zong Baihua thought in the realm of poetry and painting that "poetry does not restrain painting, painting does not overwhelm poetry, and the relationship between them should be mutual communication and mutual invasion, that is, the perfect combination of emotion and scenery." It is also mentioned that poetry and painting are genetically similar, that is, the artistic realm expressed by them is similar, which also corrects Lessing's one-sided view that painting is not as good as poetry. At the same time, Qian Zhongshu also expressed a different view from western artists in China's poems and Chinese paintings: "They are not only sisters, but also twin sisters." This vivid metaphor is intended to show that although poetry and painting are flawed, they are closely related.
Looking at the history of our country, Kong Wuzhong mentioned in "Zongbo Collection" Volume I "Dongpo Jushi Painting Strange Stones": "With intangible paintings, the painter has tangible articles, although the two are different and interesting." It can also explain the subtle relationship between the two. In addition, poetry and painting have similarities in social, political and lyric functions, which has become the norm of poetry. From the seven-step poems of Cao Cao, a poet of Wei State in the Three Kingdoms period, we can see that the poet at this time not only wanted to express his difficult situation and his anguish and indignation, but also hinted at the political outlook of the cruel struggle of the feudal ruling group.
Rainbow Anshi, a poet and politician in the Northern Song Dynasty, wrote Yuan Ri, which was deeply loved by everyone. It expressed his political ambition with a folk scroll full of rich flavor of life, and at the same time implied his firm attitude of getting rid of the disadvantages of the times and promoting the new law. Of course, in addition to poetry, painting is also a medium to reflect the political outlook. For example, American writer Jiang Peide's work "Hidden Political Stories in Poetry and Painting in Song Dynasty", when the art of calligraphy and painting spread to Song Dynasty, literati painting became popular. Although the artistic conception is light, it has far-reaching implications, which is closely related to the literati background of painting. Both paintings and poems on paintings contain rich political scenes. From the "Millennium Xiaoxiang Complaint" mentioned in the book to the political pattern in Song Shenzong period, the historical events, background and development implied in poems and paintings, etc. Reveal the history behind poetry and painting and the hermit feelings of poets and painters.
Apart from the audio-visual differences in space and time, the difference between poetry and painting lies in "direct feeling and indirect understanding". In the textbook of Literary Theory, the basic concept of "indirectness of literature" is also explained. "Painting, sculpture and other arts use image symbols to shape artistic images, which can directly affect the senses of authors and recipients, while literature uses an abstract symbol to express artistic images in creation and acceptance. Of course, poetry is also a literary form. Therefore, the meaning contained in poetry depends on the author's own feelings and thoughts, and will expand with the reader's experience, association and imagination. The true meaning of poetry is changing rapidly with different ontologies. Painting is an intuitive plastic art, which can directly express the painter's thoughts and feelings without the imagination of the viewer. For example, the Riverside Scene at Qingming Festival in Song Dynasty can directly show the prosperity of commercial activities and market economy.
Second, the reasons for the prosperity of inscribed poems in Song Dynasty
Unprecedented Cultural Prosperity: "The Golden Age of China"
Rhodes Murphy's evaluation of the Song Dynasty in China was "the most exciting period in the history of China" and said that "although later historians criticized the Song Dynasty for failing to resist foreign invasion, it was an unprecedented period of development, innovation and cultural prosperity." A country with strong education also symbolizes the prosperity and stability of the country, and of course, so does a dynasty that can last for hundreds of years. Although the national policy of "promoting culture and education and restraining samurai" implemented in the Song Dynasty inevitably produced many negative effects, it also created a prosperous situation of culture and created a group of new-type cultural people who were bureaucrats, literati and writers. Therefore, in the history of China, the Song Dynasty was able to give intellectuals the most generous treatment and the highest respect. Of course, the rulers of the Song Dynasty also made great efforts to collect talents, mainly in two aspects:
Because of the emphasis on talent election, the reform measure is to increase the number of voters, which can not only recruit talents, but also reserve more opportunities for talented and ambitious civilians from all walks of life. In the Tang Dynasty, only 30 or 40 scholars were admitted at a time, and in the Song Dynasty, the number increased tenfold. This move opened a "skylight" for scholars to participate in politics. Therefore, the surge in the number of students, the prosperity of "painting" and the wind of "criticism" have laid a part of the foundation for painting poems.
This practice has become an unprecedented historical move. Because of the generous treatment ahead, naturally children from all walks of life will study hard in order to win the attack of officialdom. Under the influence of a strong cultural environment, more and more people have devoted themselves to studying and entering the official career, followed by the grandeur of the ranks of intellectuals, which paved the way for the rise of a large number of intellectuals with knowledge and literary creation. Therefore, the rapid development of literature and art in this period is of course an indisputable fact and conforms to the law of development.
The emergence of painting art: "There is nothing better than painting ears"
In the Song Dynasty, people from all walks of life maintained a strong interest and obsession with painting. Whether it is a ruling group in a high position or a simple and honest people with poor materials, once painting is integrated with life, thoughts and feelings will not be poor and empty. Song Huizong, the Song Dynasty emperor who was also good at calligraphy and painting, once said, "I have nothing better than painting ears." It is precisely because the rulers themselves have superb painting skills and advocate and attach importance to painting that the status of imperial painters has been greatly improved, and because of the prevalence of this trend, scholars have gradually learned to paint, even though the number of painters in all walks of life has become incomparable with that of the previous dynasty. Subsequently, a group of professional and amateur painters and paintings with various themes and types prevailed in the art world, such as "representatives of Buddhism and Taoism, Yan Lu of Hui Chong, bamboo stones of Wang Jian, etc." or "boudoir of Li Qingzhao and Zhu". They are not only talented women in poetry, but also painters who are good at graceful and restrained painting. Moreover, the painting themes, artistic styles and composition techniques that flourished in different periods of the Song Dynasty are representative differences. "Panoramic composition" with broad artistic conception was popular in the early Song Dynasty. In the middle stage, the main scenes are concentrated and the secondary scenes are remote, which makes it easier to show the primary and secondary scenes and highlight the theme. The main style of distant secondary scenery is hazy and simple, with distinct primary and secondary, and it also produces strong poetry, which provides the premise for painting poems.
The four great calligraphers Su, Huang, Mi and Cai lead the trend.
As the name implies, poems on paintings are inseparable from the content of paintings and poems on paintings. Speaking of calligraphy, it is not only the carrier of poems with paintings, but also an indispensable condition for the development of poems with paintings. Su Shi, Huang Tingjian and Mi Shi are keen on the creation of inscribed poems on the basis of attracting the trend, and they have a lesson, followed by copying the calligraphy lovers who are constantly emerging. There is a characteristic in the Song Dynasty. Rulers of past dynasties have made high or low attempts or achievements in the art world. They prefer calligraphy to painting. Led by the emperor and some calligraphers, the Song Dynasty made great strides in the art world, leaving a brilliant historical mark. Calligraphy in the Song Dynasty, following the Tang Dynasty and the Song Dynasty, was the first to open the atmosphere. Since Song Taizong's time, he has attached great importance to calligraphy and calligraphy, copied the ink of the former kings and sages, and carved posts in Chunhua Secret Pavilion, which broke the previous routine and emphasized subjective interest. From Su Shi's point of view, he once wrote a calligraphy couplet, "Know the words of the world and read the books of the world." Romantic through the ages, brilliant, can be described as the representative figure of brush and ink painting and calligraphy in the Song Dynasty, so the cultural background of the times is rich, and many calligraphers also have profound writing skills and poetry skills. They pay more attention to personal cultivation, are broad-minded, well-informed and broad-minded, which of course becomes a prerequisite for the development of poems.
Content: A wide range of topics.
The creation of works is more free and flexible, and it is no longer confined to the "Buddhist and Taoist figures, ladies and horses" before the Song Dynasty. The characters gradually transition to the description of the whole nature, such as "landscape paintings and flower-and-bird paintings" that appeared in the Song Dynasty. In the blank of China's picture scroll, the artist inscribed a poem related to the content of the painting, thus elevating the artistic conception. This is an example of a poem with pictures. The most familiar is Su Shi's "Night Scene of the Spring River in Hui Chong". In addition to the well-known "Peach Blossoms Outside the Bamboo, Duck Prophet Warms the Spring River", there is another song, "The two couples return to the flood and break the regiment, but they still seem to return to the north." It is also beautifully written, with a pair of "flower and bird paintings" and "landscape paintings", which write the lyrics incisively and vividly. Secondly, it is the second song in Two Poems of Wang Jinqing's Hidden Color Mountains, which uses the scenery sentence of "Make the Xishan Mountain blue and brighten everything" in Han Yu's Mountain Rock, and combines it with the artistic conception in the picture scroll, and finally presents a particularly profound theme.
The meticulous description is extremely delicate.
Judging from Song Huizong's poems on paintings, he is good at meticulous flower-and-bird painting, and this habit is vividly reflected in his poems on paintings. For example, in his poem "The Lotus Lady's Picture", "The south sucks the cold, and the newly woven lotus root dance skirt is long." In short, or "Ancient Village Map", "The bamboo trees in the deep village don't know spring, and the water is far away." Both of these works focus on painting, and their descriptions of poetry and painting are general and delicate, which is a prominent feature of Song Huizong. Of course, the theme of the Song Dynasty is mainly flowers and birds, landscapes and so on. Delicate brushwork is an important feature of poetry in this period.
In painting poems, the inheritance of poems and words is different, and the angle and breadth of inheritance are also different. Here, I only talk about the internal inheritance of painting with poetry through the ages. In the Song Dynasty, the poets' feelings and the emotions expressed in the poems on paintings in the Northern Song Dynasty and the Southern Song Dynasty were also different.
Inheritance of the theme: There are many inheritors.
First of all, the theme of the poems on paintings in the Song Dynasty is basically the same, but the focus is relatively different, and there is no difference in general, and there will be some subtle differences in some characteristics of some themes. For example, in the Southern Song Dynasty, some literati paintings inscribed the Northern Song Dynasty. In terms of landscape theme, in addition to the pen-and-ink painting of mountains and rivers, flowing water, flowers and birds, and animals often written in the Northern Song Dynasty, the Southern Song Dynasty prefers the drawing method of maps, which also stems from the influence of the political environment of the Southern Song Dynasty, which coincides with the confrontation between the Southern Song Dynasty and Liao and Jin Dynasties. Its painting state tends to the terrain of the war situation, and then there are descriptions of regional characteristics such as mountains and rivers in the south of the Yangtze River. From the perspective of the theme of characters, the description of the theme of characters in the Southern Song Dynasty is more specific, that is, more life-oriented and personalized, because there are great and small differences in economy, politics and life in the Song Dynasty, and the living habits of the people and the social harmony under the rule of emperors have also changed step by step. Both the Song Dynasty paid attention to the portraits of historical figures, because the painting theme of the Southern Song Dynasty was more "appealing to both refined and popular tastes" than that of the Northern Song Dynasty, because there were more painters in this era. Judging from the inherent inheritance of the poems with inscriptions and postscript, the continuation of the poems with inscriptions and postscript in Song Dynasty is greater than the inheritance, because there is not much change in essence, only nuances, which is very expensive to ponder.
Inheritance of inscription group: change of scope
In the early Northern Song Dynasty, the main body of the inscription was monks, that is, after Su Shi, it gradually became a literati, which was initiated in the Northern Song Dynasty and developed mainly in the Southern Song Dynasty. There are also differences in the theme of monks in the Song Dynasty. In the Northern Song Dynasty, many Buddhist paintings were praised. In addition, there were other themes such as landscapes, flowers and birds in the Southern Song Dynasty, such as The Portrait of Shaoling and A Plough in Spring Rain. The most popular literati painting in the Southern Song Dynasty was Long Poem by Hu Zhonggong at the end of the Song Dynasty. In addition, the mainstream of painting in the Southern Song Dynasty should be "courtyard-style" palace poems, which is very prosperous for the promotion of painting.