The relationship between poetry and painting，Discussion in the Chinese and foreign academic circles is enduring。Some discussion of poetry and painting has complementarity in artistic expression，Some discussions between the two in the aesthetic experience，But the two can "mutual name"，Although someone mentioned，However, there are few scholars who investigate the cause behind。

Guo Xi in the Northern Song Dynasty wrote in "Lin Quan Gao Zhi": "It's more like a former saying:‘ Poetry is an invisible painting，Painting is a formal poem '，Talk about this saying more，My teacher。""，"Poems are intangible paintings，Painting is a formal poem "to become an important theoretical proposition for the early summary of poetry and painting relationship in the Northern Song Dynasty。But，This description has occurred in the middle and late Northern Song Dynasty。Su Shi said in "Han Ganma": "Shaoling Hanmo invisible painting，Han Qiandan Qing Donald Poetry。"Huang Tingjian's" Zi Yunzi Zhanzi Resting Silence "said:" Li Hou has a sentence refuses to vomit，Write a silent poem。"Hui Chong" The East Po Wood of the Ringtan Courtyard、Zhang Jiake Miao Mo，The boy sued the monk is not here，Not visible，Show Wang Lu Dao "saying:" Bad wood branches between the walls of the snow，Dongpo Opera's Silent Poem。"We can see from it，The expression of "Painting is a formal poem" has become "painting is a silent poem"，And the concept of "silent poem" has been set in the late Northern Song Dynasty。(Here，As Qian Yanshu proposed in the article "Chinese Poetry and Chinese Painting": The Song of the Song people's "tangible poems" and "silent poem"，and later generations along with their theory，Is a specific meaning，refers to the poems and paintings that are mainly landscapes and flowers and birds bet365 live casino games and static objects。) From the surface，This change only indicates the conversion of painting from "tangible" to "silent"，But there are some meaningful literary thoughts in the meantime。

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Painting as a concrete art，"shape" is its unique essential attribute; poetry uses language and text as a medium，The beauty of the rhythm，"Sound" is one of its artistic characteristics。Painting is a styling art composed of line color，"Dynamic Poems" is called based on the characteristics of painting to observe the relationship between poetry and painting。and from "Dynamic Poetry" to "Sound Poem"，"Sound" replaced by the "sound" possessed by poetry，and convert from affirmation statement to negative tone，It marks the conversion of the criteria for painting from painting to poetry aesthetics。In other words，Poetry Aesthetic Standard has entered the field of painting，Poems and painting art forms and content have the possibility of substantial integration，In the meantime, it is also revealed that the process of implanting the thinking mode of poetry into the concept of painting is also revealed。

The Song Dynasty gradually attached great importance to the artist's cultivation，and use it as the criterion for painting or painting。The painter's cultivation proposed by the Song people includes three aspects: literary accomplishment、Life experience、Research and inheritance of art traditions。(Ge Lu's "History of Chinese Painting Theory") in the Song Dynasty，Many scribes perform painting creation，Poetry Poems、Poetic painting alternately appeared in the literary interaction of literati collections，large number of generation。Create poetry first，Then paint according to poetry; or paint first，Writing poems according to the picture，Even more，A poem to stop，One of the rhymes of others，Repeated times。For example，The "Map of the Yanjiang Diery" created by Wang Yan, which is now in the Shanghai Museum，Su Shi painted the poem "Book of the Yan River in the Book bet365 best casino games of King Dingguo" for this painting，Wang Yan and Poetry，Su Shi rotated with one song，Wang Yan also sang another song and a poem。This is what Su Shi said "Poems in Poems，Poetry in the painting "。Lexin said，Poetry is time art，Painting is the art of space，But in Su Shi's discussion on the relationship between poetry and painting，Poetry and painting are in the case of retaining the form of the body，Beyond the space -time features of the respective surface layers，Time and spatiality。Poetry of painting in the Northern Song Dynasty，Realized function and artistic conception，A characteristic and excellent tradition of becoming the art of painting art in my country。

　　Emphasize the "general sense" of hearing and vision

The transformation from "tangible poem" to "silent poem"，It also involves the phenomenon of "communication" in literary creation。But in the cultural context of the Northern Song Dynasty，This "sympathetic" surpasses the physiological category that is felt in the facial features，Promote to the level of religion。Zhou Yuzheng's life in "Six Roots Mutual" and the Song Dynasty literati、Aesthetic and Literary Performance -also on the influence of "Tolerance" "，Su Shi is the first person to propose the concept of "ear vision and listening" among the Smarts of the Song Dynasty，In the article "Fa Yun Temple Zhong Ming", he described the "sympathetic" describing hearing and vision: "Who has a bell?，I heard that it is five。阙 一 不，Ru Zeng can hear it? Ru Wen was so peaceful?。Those who know what I heard，Luming when silence。”

In the general artistic concept，Poetry and painting are two completely different arts: poetic sound and intangible，Active for ear; painting silent and tangible，Active for eye。From "Topo Poem" to the change of "silent poem"，The transformation from visual aesthetics to auditory aesthetics。and the reason why Su Shi said "ear vision and listening"，It has a certain relationship with the popularity of Zen Yue in the Northern Song Dynasty.。"Len Yan Bet365 lotto review Jing" has the saying of "six roots"，Eye、Ear、Nose、Tongue、Body、Any one between the meaning，All have other roots，The premise is to experience practice，I realize the six dusts through the perception of the six roots -color、Sound、Xiang、taste、touch、Method -The falsehood of these phenomenal worlds，can reach the realm of spiritual integration，Get the Great Freedom。At the same time，The boundaries between the six roots will also be improved with the realm of the practitioner，Eliminate the boundaries between each other，Interactive use for use，Combat and one。As the "Leng Yan Jing" said, "A return source，Six Gencheng Lift "。So，The so -called "formal poem" and "no sound poem"，It is not existed in the poetic population、The facts in the painter's pen，but the result of the admirer "Ear Visual"。The poet conducts aesthetic photos through his own artistic accomplishment，With the help of a psychological mechanism caused by sensory experience，Transformation into philosophical thinking on the meaning of life。

　　The aesthetic spirit that embodies the meaning

The transformation from "tangible poem" to "silent poem"，It is also related to the emergence of literati paintings in the middle and late Northern Song Dynasty and the aesthetic spirit of the Song Dynasty。In the Northern Song Dynasty，The concept of "literati painting" is proposed by Su Shi。Su Shi originally used the word "scholar painting"，He said: "Observatory painting，Ru Shuyeho，Take the arrogance of its intentions。If the painter，Often only spur、fur、slot、刍秣，No Junfa，Tired of see a few feet。"Su Shi believes，Different scholar paintings and painter paintings，The former focuses on "qi"，The latter only takes "fur"。Therefore，Scholars' paintings are not "shaped"，Emphasis on the image of the elephant、Taste of taste。Therefore, he said again: "On painting like，Seeing children's neighbors ... Poetry and painting are all，Sky Gong and Fresh ... Who said a little red，Jiefanless Spring。"Su Shi believes，If you only use it to bet365 Play online games review and paint，Then the view of children is almost near children。Different from the painter，Due to identity、Differences of learning，Smarts can't just pursue shape -like，Because the painter is more able to "compose its shape" than scribes，And the scholar painting should be fresh、Natural、Remove，Pursuing Artistic Pursuit，Leave imagination。This is Su Shi's aesthetic proposition。Su Shi is right calligraphy、Poems have also expressed similar views，For example，He thinks Zhong 繇、Wang Xizhi's pen and ink "Xiao San Jianyuan，Miao outside the strokes "，Wei Yingwu、Liu Zongyuan's poem "Fiber in Jane，Send to the taste and indifferent "，At the same time，He also agrees with the poem of the empty map of the Tang Dynasty.、Outside of acid。

Su Shi's aesthetic realm，There was a lot of influence at the time。One of the four bachelor of Sumen，It has also proposed similar to Su Shi (the God of God、Delicate、Light perspective。There are two outstanding insights: one is "relics with observation"，Second, "Drawing and writing"。These two insights of Bunzhi，and Su Shi and later Mi Yan、Mi Youren's painting theory，It has a huge impact on later literati paintings。This is from the painting itself。In addition，The concept of "tangible poem" gradually abandon the concept of "tangible poem" in the middle and late Northern Song Dynasty，Use "Sound Poems"，There is still a deep ideological and cultural background hidden behind it。

"Sound Poem" is not just emphasizing that painting does not have the function of poetry sound，More importantly, emphasis on "none"。sound and taste、Color is listed as the three categories of ancient Chinese aesthetic objects。Northern Song Dynasty，Pursuing Zen fun、Zen Yue's aesthetic observation，Literary and artistic works are not just silent，It is also tasteless、Five colors are all empty。Under this aesthetic spirit guidance，A large amount of ink painting appears in the field of painting，Performance techniques are mostly used as white bet365 live casino games as black、Virtual reality and other means。This change cannot be separated from the special cultural context of the Northern Song Dynasty，Confucianism and Taoism have an important impact on the scribes at the time。First，"Gua Gua" in "Zhou Yi" said: "Upper 9，White，No blame。"贲，Original meaning of gorgeous beauty，White，It means gorgeous and returned to flat。"Gorgeous Extreme advocated by Su Shi，The aesthetic style of the bland "is affected by this。So，He advocates "Tiantong and Fresh"。Second，Zhuangzi said "virtual rooms white"，Su Shi also said: "Quiet group movement，Vehicle 10,000 realm。"The emptiness of all the realm of" ""，It is also the so -called "none"。Therefore，The painter advocates virtual and real life，The place without ink is the wonderful realm。third，The concept of Buddhism and emptiness also has a profound impact on the art aesthetics of the Northern Song Dynasty。Song Shi believes，The world of color (including the tangible world、The world that can be used in words、The emotional world arrived through the previous two)、Everything perceived by six roots is empty。So，They prefer to find unlimited from "None"、A lively life spirit，Han Yong is in the virtual spirit，Fingai Love，Chenghuangguan Road。

It can be seen through the above discussion，In the process of "mutual name" in the Northern Song Dynasty，A subtle change appeared。The motivation for this transformation comes from the Northern Song Dynasty scribes in poetry and painting.、Pursuit of no aesthetic taste，They are calligraphy poems and poem reviews、Repeatedly stated this aesthetic proposition。Therefore，The change of painting style of the Northern Song Dynasty also reflects a poetic steering under the fumigation of the aesthetic atmosphere of the times。This poetic steering is not to verify a preset theory，Instead, the painter of the Northern Song Dynasty、The poet's upgrading of the aesthetic characteristics of painting and poetry in the creative practice，Their unique life interest and the bet365 best casino games awareness of the time and space of the universe are important factor that promotes this steering。Thinking based on the spirit of poetry and painting aesthetics，The painting creation and theoretical exploration of the Northern Song Dynasty has new progress，Including the impact of ink painting on traditional color painting、Landscape painting gradually replaces character painting、Re -thinking and constructing the relationship between poetry and painting，Creation of Poems in Chinese Traditional Painting and Painting、The theoretical discussion of poetry and painting aesthetics, I wrote deep interest、The chapter of the strong ink and the colorful color，A far -reaching impact in the history of painting and aesthetics of Chinese painting。

(Author Unit: Chinese Department of Peking University)