The two Song dynasty, mainly about the ancient poetry of the title of the painting

From ancient times to the present, the popular works of art are endless, the flexible use of virtual and real skills, so that both the paintings or poems are with the eight side of the breathable, through the body of the texture, the reader savor, always want to carry with it the deepening of the meaning of the final can be achieved, that is, "the words have the end of the meaning of the endless! The reader will always be able to taste the deeper meaning of the words, which can eventually achieve the artistic realm of "endless words and endless meaning".

Painting and poetry "with" only refers to two kinds: logical integration, each other, you and I fit, and often the mood is the channel of communication between the two. The second is the combination of space, that is, the title of the poem. Su Shi commented on Wang Wei's poem as "Taste Moqizi's poem, there is a painting in the poem; see Moqizi's painting, there is a poem in the painting." As a poet and a painter, Wang Wei perfectly blends the two together, giving people an ethereal and immersive feeling. Probably because the arts are related, painting will give people an extremely intuitive visual impact, such as traditional Chinese painting, ink painting, is good at using ink rendering to show the beauty of reality, while poetry is a kind of abstract approach encompassing a variety of art forms, expression, etc., to constitute a branch of the aesthetic system that includes art as the essence of the high-level style of literature. "Poetry is the least pure language." The most essential role of language is to convey information, once attached to the author's creative mind, flexible performance skills, and the poet's own sentiments as well as the text of the philosophical information contained in the text, it will allow readers to experience the "look at the text to understand the heart" of the sense.

And the title of the painting poetry is a painting and poetry of the second type of combination: non-abstract fusion, the historical data given the concept of a narrow and broad division, the narrow sense that "was written on the painting of poetry", and the broader concept of a more comprehensive: that is, the painting as the title, painting for the fate of the meaning, or appreciation, or send Xing, or argument or irony and the literary work of poetry. The broader concept is more comprehensive: it means literary works that are composed of poems with the painting as the title, appreciation, inspiration, discussion or satire. Therefore, the poem composed by the painting, the painting as the title, and to have the painting first, and then the poem, the content of the poem must be closely related to the content of the painting.

First, the link between poetry and painting and differences

Horizontally, many artists in the East and West in the ancient times of the relationship between poetry and painting have been related to the statement, on behalf of the relationship between the writers of the work of the German Leysin's "La Raccoon", in the 18th century, which is a symbol of the scholars of this issue has reached the peak of the discussion stage. In Laocoon, Lessing argues that "all art is a reproduction and reflection of reality, and is the result of 'imitating nature', which is also the *** same law of art." However, although poetry and painting are artfully similar in some aspects and in some specific scenes, they always have multi-directional differences. For example, painting, sculpture, and other arts rely on visual transmission of information through the medium of color, line, and image only, and are good at presenting subjects that are "juxtaposed with all or some of the 'objects' and their attributes' in the space space". and their attributes'", and the artistic effect is expressed as the completion of the characteristics and character of the person depicted.

In the opposite direction, poems use language and sound as the medium of transmission, and auditory performance is the main focus. In the former case, the movement of the poem is expressed in the stillness, which is intended to show the suggestive moment of the moving people and objects, so that the viewer can have the space to think about the previous or future state of the people and objects in the painting. The latter transforms static into movement, allowing the reader to experience the emotional state of the human mind and the living image revealed between the lines. The Western articulation and perception of the relationship between poetry and painting changed from "sister arts" to "parting of the ways". According to Racine, "Action is the subject matter peculiar to poetry, and the subject matter peculiar to painting refers to objects together with their visible attributes. ...... Time is the domain of the poet, and space belongs to the domain of the painter." Poetry and painting in the eyes of the West are very different art forms.

Immediately after that is when the Western view spread to China, some people began to publish a more comprehensive and reliable view compared with the original view. Mr. Qian Zhongshu also summarized and agreed with Lessing's views on the relationship between poetry and painting in "Reading Laocoon", but on this basis, Zong Baihua, in his works such as "The Realm of Poetry and Painting", believed that "Poetry does not suppress painting, and painting does not overwhelm poetry, and the relationship between each other should be a mutual exchange of interactions and invasions, i.e., a perfect combination of feelings and scenery." It also mentions the similarity of the inner gene between poetry and painting, that is, the artistic realm expressed by both is similar, which also modifies and broadens Lessing's one-sided view that "painting is not as good as poetry". At the same time, Qian Zhongshu, in Chinese Poetry and Chinese Painting, also expressed a view different from that of Western artists: "They are not only sisters, but also twin sisters." This more graphic metaphor is meant to show the flawed but closely related relationship between poetry and painting.

And vertically, just looking at the history of our country, Kong Wuzhong mentioned in the Zongboji, Volume 1, "Dongpo Jushi Painting Strange Stones Fugue", "Battling the invisible paintings, the paintings have tangible text, the two are different traces of the same interest." It also illustrates the subtle relationship between the two. In addition, poetry and painting also in the socio-political and lyrical function of the *** with the relevant place, for poetry, which has become the norm, from the Three Kingdoms period of the Wei poet Cao Cao's "seven-step poem" can be seen, at this time, the poet in addition to wanting to express their own difficult situation as well as their own depression and indignation, it is to imply that the feudal ruling group of the brutal struggle of the political landscape.

And like the popular Northern Song poet and statesman Wang Anshi's work, "The Day of the New Year," he expressed his political aspirations in a folkloric scroll rich in the flavor of life, and also hinted at his firm attitude of eliminating the ills of the times and implementing new laws. In addition to poetry, of course, painting is also a medium to reflect the political style, such as the American writer Jiang Peide's work, "political hidden feelings in the poetry and paintings of the Song Dynasty", when the art of painting and calligraphy was spread to the Song Dynasty, the literati paintings began to become popular among the literati and scholars, the meaning is far-reaching although the mood is simple and light, and is closely related to the background of the literati who made the paintings. Both the paintings and the poems accompanying them are rich in political scenes. From the "Thousand Years of Xiangxiang's Grievance" to the political landscape during the reign of Emperor Shenzong of the Song Dynasty, the historical events, backgrounds, and developments metaphorically represented in the poems and paintings reveal the history behind the poems and paintings, as well as the hidden emotions of the authors of the poems and paintings.

The difference between a poem and a painting is not only the difference between the audiovisual and the spatial and temporal aspects of the art, but also between "direct feeling and indirect realization". In the textbook "Literary Theory", the basic concept of "literary indirectness" is also explained, "Painting, sculpture, and other arts, such as calligraphy, painting, sculpture, and other arts, are not only different from each other, they are also different. "Painting, sculpture and other art is to image symbols to shape the image of art, can be directly affected by the author and the receiver's senses, literature is an abstract symbols to express the image of art, in the process of creation and acceptance, people need to language symbols to express things into a series of internal image, the formation of the corresponding heart of the image and emotional experience. " Of course, poetry is also a form of literature, therefore, the meaning contained in the poem depends on the author's own emotions, thought transmission, and will be with the reader's experience, association and imagination for plus expansion, taste of the poem's ontology is different, and its true meaning is also transient. Paintings, on the other hand, are a kind of intuitive modeling art, which can directly express the thoughts and feelings of the painter without the viewer's imagination. For example, in the Song Dynasty's "Qingming Shanghe Tu", the prosperity of commerce and market economy can be seen directly.

The second reason for the flourishing of poetry in the Song Dynasty

Unprecedented cultural prosperity: "China's Golden Age"

Roz Murphy's evaluation of the Song Dynasty in China is "the most exciting era in Chinese history", and said. "Although later generations of historians have criticized the Song dynasty for its failure to withstand foreign invasion, it was a period of unprecedented development, innovation, and cultural flourishing." A country with strong education is also a symbol of national prosperity and stability, and of course so is a dynasty that can last for hundreds of years. Although the Song dynasty's national policy of "promoting literature and education and suppressing the warriors" inevitably had many negative effects, it was a blessing and a blessing, and at the same time led to cultural prosperity and a new breed of culturists who had three identities: a man who was both a scholar and an educator, a man of the cloth, a man of the world, a man who was a scholar, a man of the world, and a man of the world. There was a group of new cultured people with three identities: bureaucrats, scholars and literati. Therefore, the Song Dynasty can be said to be the history of China, can give intellectuals the most generous treatment and give them high respect of course, the Song rulers for the search for talent is also considered to be a great effort, mainly in two aspects:

Because of the importance of the election of talent, the reform measures for the increase in the number of voters, which not only can be wide range of talent, but also to all walks of life talented aspiring civilians to set aside more opportunities to the Tang Dynasty. Therefore, the surge in the number of readers, "painting" and "the wind of evaluation" flourished for the title of the painting poems laid part of the foundation.

This practice, it has become an unprecedented historical initiative, because there are generous treatment in front of the call, naturally, all kinds of children will be in order to fight for the official a gas and study, with a strong cultural environment, more and more people into the ranks of the ranks of reading into the career, followed by the intellectual team of the grand for a large number of academic and literary creation of the rise of the culture of the people! And made the pavement, so the rapid development of literature and art in this period is of course in line with the law of development of the indisputable fact, and the inscription of poetry is one of the more prosperous literary development.

The rise of the art of painting: "There is no other good, but good painting"

During the Song Dynasty, people from all walks of life and all walks of life maintained a keen interest in painting and an obsessive attitude. Whether in a high position, the ruling group of the wind and rain or simple and simple, poor material people, once there is a painting on the life of the harmony, thought and emotion will not be poor and empty. The Song Dynasty Emperor Song Huizong, who was also good at painting and calligraphy, once said: "I have no other good, but good painting ear." It is also because the ruler himself has a superior painting skills and the advocacy and attention to painting, in order to make the status of the court painter greatly improved, but also because of the prevalence of this trend, the literati also gradually learn to paint, even if the number of painters from all walks of life to become the previous dynasty can not be compared with the number of painters. Consequently, a number of professional painters, amateur painters, and a variety of subjects, various types of paintings, prevalent in the art world, such as "monks and Taoist representatives, Huichong's reeds and geese as well as Wang Jian's bamboo and stone, etc." or, "the courtesans of the Li Qingzhao, Zhu Shuzhen", they are not only a generation of poetic talent, but also the literary people also gradually practice painting, even if the number of painters from all walks of life became the previous dynasty can not be compared. They are not only a generation of talented poets, but also painters who specialize in ebullient paintings. Not only that, different periods of the Song Dynasty flourished in the painting subject matter, artistic style, compositional techniques, etc. are representative of the difference, the early Song Dynasty popular broad mood "panoramic composition", to the middle of the main scene, the main scene is concentrated, the secondary scene is remote, and thus easier to show the main and secondary, highlighting the main theme, the main style of the remote secondary scene is a hazy and simple small, the combination of near and far, the primary and secondary clear. The combination of near and far, the main and secondary, but also produced a strong poetic feeling, for the title of the painting poetry provides the prerequisites for such a superior political environment, the literary climate makes the title of the painting poetry has a good start.

Calligraphy "Su, Huang, Mi, Cai" four leading the trend

The title of the painting poetry, as the name suggests, is inseparable from the content of the painting and poetic inscriptions, speaking of calligraphy, it is the title of the carrier of the painting poetry, but also the title of the painting poetry is able to develop the indispensable conditions, and Su Shi, Huang Tingjian, as well as Mi persimmon, three of these three The three Su Shi, Huang Tingjian and Mi Kaki in the tide of the basis of the creation of poetry and passionate about the title of the painting, there is a good precedent, followed by copying everyone and the emergence of calligraphy enthusiasts. The song dynasty has a characteristic, the rulers of all dynasties have high or low in the art world or achievements, compared with painting, they prefer calligraphy, in the emperor and some calligraphy under the leadership of the great, the song dynasty and in the art world thorny, leaving a brilliant historical imprint. Song Dynasty calligraphy, inheritance of Tang and Song, on the technology five generations, creating a generation of new style, since the period of Song Taizong, pay close attention to calligraphy and ink, purchase copy the ink of the former kings and sages, engraved "Chunhua Secret Pavilion hair post", breaking the routine of the predecessors to emphasize the more subjective interest. Starting from Su Shi, which had handwritten a door couplet "know all the world's words, read all the books on earth." Ancient style, talented, can be described as the Song dynasty of ink painting and calligraphy representative of the characters, so the cultural heritage of the era background of the strong, many calligraphers also have a profound text poetry skills, they pay more attention to personal cultivation, chest high, knowledgeable, broad-minded, which of course, also became the prerequisites for the development of the title of the painting and poetry.

Content: a wide range of subjects

The work is more free and flexible, no longer adhere to the Song before the main to "Buddhism and Taoism figures, women, cattle and horses", but by the gradual transition from the characters to the depiction of the whole of nature, such as the two Song Dynasty, the emergence of the "landscape painting, bird and flower painting", in the Chinese painting scrolls, the Chinese painting, the Chinese painting, the Chinese painting, the Chinese painting, the Chinese painting, the Chinese painting, the Chinese painting, the Chinese painting, the Chinese painting and the Chinese painting. For example, during the Song Dynasty, "landscape painting, flower and bird painting", in the blank space of the Chinese scroll, the painter inscribed a small poem more or less related to the content of the painting, so that the mood has been sublimated. Here is an example of a poem, the most familiar is Su Shi's "Huichong spring river evening scene", in addition to the household name of the "peach blossoms outside the bamboo three or two branches of the spring river water ducks know first." In addition, there is also a "two or two return to Hong want to break the group, still seem to return to the north ." Also write a wonderful, with a pair of "flowers and birds" and "landscape painting", will be lyrical into the wood. Secondly, there is "Wang Jinqing hidden colorful mountain two" in the second, the use of Han Yu "mountain stone" in the landscape sentence "mountain red streams Bixian rosy", coupled with the scroll in the mood, and ultimately presented a particularly profound theme.

The brushstrokes are extremely detailed

Song Huizong's poems show that he was good at brushstrokes, and this habit is even more vivid in his poems, such as the poem "Lotus Flower Lady", which reads, "The lotus root silk is newly woven into a long dancing skirt." Or, in the poem "Ancient Village", "The bamboo trees in the deep village do not know the spring, and the water in the distance has a lingering haze that connects the broken jin." Both of these works focus on the painting, the poem and the painting in general, the description to the delicate, this is the Song Huizong more prominent a characteristic, of course, the Song Dynasty subject mainly to birds and flowers, landscapes, etc., and the work of fine brushwork that is for the period of the title of the poem is an important feature of the paintings.

The inscription poetry, poetry and words of the inheritance of different, and inheritance of the angle and breadth is also different, here only talk about the inscription of poetry within the generations of inheritance. In the Song Dynasty, the Northern Song Dynasty and the Southern Song Dynasty, there are differences in the poet's emotions and feelings embodied in the poems.

The inheritance of the subject matter: the continuation of more

First of all, the Northern and Southern Song poems are basically the same in the subject matter, but the focus is relatively different, in general, there is no difference, and there will be some subtle differences in some of the subject matter of some features. For example, the Southern Song is mostly written on the Northern Song period of some literati paintings. In the landscape theme in addition to the Northern Song often for the inscription of mountains and rivers pen and ink drawings, flowers, birds and animals, the Southern Song more inclined to the map class of paintings, but also from the influence of the political environment of the Southern Song Dynasty, is in the Southern Song Dynasty and the Liao Jin confrontation situation, the state of its paintings are also more biased towards the battlefield situation and other aspects of the situation, and then also appeared on the Jiangnan landscape and other regional features of the portrayal. From the character theme, the Southern Song Dynasty is more specific on the character theme, that is, living, personalized stronger, because the two Song Dynasty, in the economy, politics, life have big and small differences, the people's living habits and social harmony in the emperor's rule also has a ladder-like changes, the Northern and Southern Song Dynasty both focus on the historical figures of the subject, because the Southern Song Dynasty painting theme than the Northern Song Dynasty more than the "elegant and vulgar". "The Southern Song had more "elegant and vulgar" elements in its painting subjects than the Northern Song, because the painters of this era paid more attention to the "images of common figures in life. Only from the point of view of the inheritance within the title poem, the two Song period of the title poem continuation than inheritance, because the essence of the essence is not much change, but only the nuances, expensive to figure out.

The inheritance of the inscription group: changes in scope

In the early Northern Song Dynasty, the main body of the inscription was monks, that is, after Su Shi, gradually tended to literati, priests, etc., the Northern Song Dynasty opened the vanguard, and the Southern Song Dynasty is the main development of it. In the monks as the subject matter, the two Song dynasty also has differences, the Northern Song dynasty to the Buddha painting praise mostly, the Southern Song dynasty, in addition, plus the landscape, birds and flowers and other subjects, such as "shaoling portrait", "a plow in the spring rain" and so on. The more popular literati paintings in the Southern Song Dynasty are mainly represented by the end of the Song Dynasty, Hu Zhonggong's "long title poem". In addition, the mainstream of the Southern Song painting should be "courtyard style" of the court subject matter of the title poem, which is very popular for the promotion of painting.