| From ancient times to the present, the poetry and painting have been known as two entirely different art forms. However, they could be seen perform together in traditional Chinese paintings and their inseparable combination creates an extraordinary beauty. Therefore, it is understandable that a poet may love appreciating painting whereas a painter could have huge passion on poems as well. This combination helps artists to express their thoughts more deeply. Thus, art and literature are interlinked, which makes it possible for artists to present their insights about nature, society and life through the forms of poets or paintings. Moreover, with the social developing, this connection between poetry and painting becomes increasingly deeper. They influence each other from both content and form, which could be easily recognized in those paintings of Southern Song Dynasty. Ma Yuan, the leading figure of this art form, gave up the style of court body painting and created the original landscape composition of corner type, in which quite a part of the painting is left blank in order to highlight the delicate, graceful and elusive beauty of the southern landscape. This enables the artistic conception become wide and implicit, makes the court body painting of Southern Song Dynasty replace the Scholar’s Painting and influences the following painters profoundly.In this paper, corner, Ma Yuan’s poetic landscape composition, is the object of study. Also, the influence of landscape paintings on Ma Yuan’s work is studied from Wei and Jin Dynasties, which are the landscape paintings’rudimentary stage, to the Southern Song Dynasty, in which the landscape painting witnessed a change of style. Moreover, several representative works of Ma Yuan are analyzed so as to have a better understanding of the creative composition, the fusion of poetry and painting, the relationship between the poetry and painting, the aesthetic principles and the profound artistic conception in it. |
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