Academic journal article Canadian Social Science

On the Commonalities of Artistic Principles of Landscape Poetry and Painting in Liu Song Dynasty

Academic journal article Canadian Social Science

On the Commonalities of Artistic Principles of Landscape Poetry and Painting in Liu Song Dynasty

Article excerpt

Abstract

It is generally believed that the fusion of poetry and painting was achieved in Tang and Song dynasties. However, in Liu Song dynasty, landscape poetry and landscape painting coincidently completed the process of being independent. Meanwhile, they both have jointly demonstrated an aesthetic fashion and artistic progress of the times in terms of the creation purpose of enlightenment and emotional experience, the artistic expression of admiring similarity in shape, and the way of framing like "distant reflection" and other similar ways. This shows that Chinese landscape poetry and landscape painting, from the establishment to the development and improvement, has always been in a mutually connected, inspired and influenced relationship.

Key words: Poetry and painting; Creation purpose; Artistic expression; Way of framing

INTRODUCTION

For the fusion of poetry and painting, Mr. Xu Fuguan has divided it into three steps: first, "poetry on a painting appeared"; second, "use a poem as the theme of the painting"; "further, people use the way of writing a poem to paint" (Xu, 2001). However, Mr. Zhou Jiyin has divided the fusion of poetry and painting into two aspects: in terms of the surface of the fusion, it shows in paintings according to poems and writing poems for painting"; as for the inner fusion of poetry and painting, "the poeticization of painting's structure, composition, image, and color" (Zhou, 2005). The opinions of the two scholars have inspired the author on the research of the relationship between poetry and painting. In terms of the external connection between poetry and painting in Liu Song dynasty, there were paintings then such as Painting of Bamboo Forest, Painting of Cicadas and Birds, Painting of Xiao Shi, Painting of Dreams, Painting of Fairies, and Painting of Shooting Pheasants etc.. In terms of poetry, there were poems like Wu Jun Yong, Xiao Shi Qu and Dreaming Back to Home and etc.. They show commonalities in the time of the creation. Of course, the more important representative of this commonality lies in the early appearance of landscape painting and the appearance of landscape poetry: "From the Eastern Jin dynasty to Liu Song dynasty, landscape painting gradually completed be process of being independent (Chen, 2000, p.59); and a large number of creations of landscape poetry also started from Liu Song dynasty. The works of Xie Lingyun, Bao Zhao have a great impact on the creation of that time and later generations. Landscape theme frequently appeared in poems and paintings in Jin and Liu Song dynasties, which were related to the influence of metaphysics and Buddhism thoughts, the awakening of human consciousness and scholars' appreciation of the beauty of landscape. The similar background and the of them both in the start-up phase have provided an important prerequisite for the further research of the commonality of the artistic principles of the two artistic forms. Therefore, we will focus on the aspect of the landscape theme to explore the connection between painting and poetry in Liu Song dynasty.

1. THE CREATION PURPOSE OF ENLIGHTENMENT AND EMOTIONAL EXPERIENCE

On graphic art, people usually tend to focus on its social function on the beginning stages. As it says in Zuo Zhuan, "When the previous Xia dynasty was ethical, far away objects were required to draw in paintings. The executives of nine provinces were required to tribute bronze to make Jiuding and paint the images in the Ding. Thus, all the images were on the Ding to let people distinguish the fetish and monsters." This kind of attention to political and religious ethics has influenced later paintings, especially the figure paintings. In Famous Paintings in History, there are records of Han People drawing classical and historical allusions to preach Confucianism; Cao Zhi wrote 31 painting reviews of figure painting of Fu Xi and others to illustrate the admonished significance of each painting. This situation began to change in the individual conscious era. …

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