A Study On The Relationship Between The Landscape Poetry And Painting Of Wei-Jin And Southern-Northern Dynasties

Wei-Jin and Southern-Northern Dynasties is an important period of changing in the history of literature and art. Literature and art gradually separated from its traditional pursuits of politics and academia, and established their own independent value and status. Poetry and painting not only demonstrated the expansion of themes and the innovation of creative methods in their own respective areas, but also showed a interaction and a influence between them two. The discovery of the "Landscape" and "the coherence of poetry and painting" can be described as the two most important phenomena happened in the development of poetry and painting during this period. Research into the process that landscape entering the view of poetry and painting, as well as the change this process brought to the relationship between poetry and painting, can seemingly put the fragmented themes, techniques and theories of landscape poetry and painting into an united and common discourse. Under this framework, the study the early landscape poetry the painting can adopt a new perspective and point of view; and it also provides a new way to clarify the clues of the development of Chinese classic poetry and painting.The core issue of this thesis is the relationship between these three of poetry, painting, and landscape; it is aiming at answering how new concepts which are relevant with landscape poetry and painting were established in Wei-Jin and Southern-Northern Dynasties. This thesis argues that in Wei-Jin and Southern-Northern Dynasties, the discovered landscape broke the direct reflection and relationship between spirit and poetry or painting, and subverted its passive and single reaction mode. This process totally changed the traditional image-conscious viewing mode. Poetry and painting, in this process that engaged in grasping images, finally transgressed the boundaries and learned to think beyond the limits of their respective genres. The relationship between poetry, painting and landscape is actually similar as the transformation and penetration within the material image, mental image and the symbol system of language.Firstly, the thesis is simply clarifying the development of the each facility of the landscape poetry and painting in this period the development of and then initially focusing on two typical phenomena:first, the confluence of poets and painters for a same group:the literati became the experts of both painting, calligraphy and writing; Second, from the aspect of the activities of creating poetry and painting, a combination of poetry and painting began. Referenced by the innovation in subject matter and techniques, the paintings based on poetry and the poetry encouraged by painting appeared in the records for the first time.Secondly, this thesis is focusing on the artistic reasons why landscape into literature and art; and take into account the departure from the birth of the cultural background of landscape poetry and painting. By the new concept of time and space, the literati began to pay attention to the quality of Being and concern about the "form"; landscape as the object of looking, firstly was considered as a model of the ideal personalities, and then brought aesthetic objects into the author’s creative vision and daily life.Thirdly, the thesis tried to explain how the literati at this time to look at the landscape. The modes the literati looking at the visual landscape gone through three stages. First, from a distance with the real landscape, literati expressed their emotions assisted with the landscape. Landscape is regarded as a medium. Second, the artist’s vision set into the details of the landscape, a closer look at the matter were adopted; Third stage, the literati run beyond the image itself and began to pursue the outside realm of the image. Besides highly grasping the realistic images, at the same time, the literati pursued the combination of picture and meaning. The ambiguity of the language in poetry once again been established. A visual pattern which based on the combination of words, images and meanings are established.The fourth part of the thesis further discusses the integration of the landscape concept identified by the landscape poetry and painting in Wei-Jin and Southern-Northern Dynasties and the germination and main mode of the coherence of poetry and painting. The figure and power of drawing images in poetry are firstly discovered and then developed by "Fu", one type of writing flourished in this period which is differed but related to poetry. A new theory of "shape" was appeared as the core concept of the "painting style" poetry in two modes:one is the poetry regarded the landscape as decorative pattern and describe them by using metaphor related with fabric; second is poets viewed landscape with a painting framework concept; by the performance that " landscape as painting", real landscape can be considered as painting to be written. The third quarter of this chapter take the painting as starting point, and discusses "painting in poetry." Painting as a medium, became a meditation between image and language; that is to say the material image of the landscape transformed into the image of spirit, constructed in painting a "literary logical space".Compared with previous studies, this thesis demonstrates several new ideas. The first one is the research content. This thesis discusses the relationship between landscape, poetry and painting, the three; while most of the previous studies relate to only one of both. Meanwhile, this thesis does not focus on the reason why landscape appears in poetry and painting, but rather focuses on explaining the changes happens in the way of looking at mature, the concept of the image, as well as the relationship between poetry and painting when landscape was discovered. The second is the research methods. This thesis does not in accordance with the pattern of research in the past, such as comparing the similarities and differences between poetry and painting from the aspects of subject, content and theory. Also it is not an ongoing research based on single writer to explore the landscape poetry and painting; but all issues are from a whole system in which the "image" is the core and build a new theoretical framework. The third one is the theoretical methods. This thesis draws on the image theory in the West, such as the division of language image, mental image and physical image. The fourth one is the conclusion of the study. This thesis puts forward some new ideas. Such as the re-shaped concept of landscape is related to the tendency of emphasis on image and shape; landscape poetry represents a visual transition from "spirit-based" looking to "eye-based" looking; the two mode of the early "poetry-painting"; also painting constructs a "literary logical space" through "Meditation", a function of the imagination.