A Study On Aesthetic Elements In Su Shih’s Art Philosophy

"The same in poems and paintings" is an important proposition in the Chinese literature theory and art theory.Ever since Su Shih,an artist in the Northern Song Dynasty,first advocated this theory,many scholar support this view.However,in the twentieth century,the controversy about the meaning of "the same in poems and paintings" was caused by the influence of western theory.Can "poems" and"paintings" be the same?Where are "poems" and "paintings" same?These questions need to be answered further.Although the concepts of "the same rule in poems and paintings" and "picture in poetry" are often used together,they have different scope of application in Su Shih’s theory.This is a solution to deal with "the same rule in the poems and paintings".In the view of ancient Chinese literary theory and Su Shih himself,"the same principle of poems and paintings" is an aesthetic principle that emphasizes the relationship between aesthetic creation,aesthetic appreciation and aesthetic subjects,and does not apply into the specific art practice.The research of this article is to restore the aesthetic context of Su Shi’s theory of"the uniformity of poems and paintings" and deepen the aesthetic meaning of the proposition.The "poems" and "paintings" are directly different in media method,the ancients did not ignore this limitation,but still used this theory.In addition,a separate study of the aesthetic connotation of "the same in poems and paintings" is documented.It pays attention to the aesthetic characteristics of artistic creation,and emphasizes the integration of the subject’s aesthetic imagination and expressive ability;pays attention to the importance of "human" in aesthetic appreciation,including the artist’s character,the unity of learning,and the ultra-utilitarian aesthetic experience give the viewer a pleasant.The theoretical value of "the uniformity of poetry and painting" is far greater than the guidance to specific artistic practice.It is the embodiment of Su Shih’s outlook on life and philosophy in the field of art.It is an important category of aesthetic research and inspires the study of aesthetics and art philosophy today.There are three main research methods in this article:First,collect and sort the theoretical materials about poetry and painting in Su Shi’s literature,and summarize and deduce the aesthetic connotation of "the same poems and paintings".Second,using comparative research methods to compare the theoretical literature on aesthetic creation and aesthetic appreciation between China and the West,in order to understand the particularity and theoretical value of the blending of Chinese poetry and painting through different cultural perspectives.Third,combine synchronic research and diachronic research,integrate theory with practice,and understand the theoretical value of "the uniformity of poetry and painting" from a broader perspective.This article is divided into five parts in total.The first chapter analyzes the theoretical dimensions of "the same rule of poetry and painting",and determines the two dimensions of the aesthetic study of "the same rule of poetry and painting",namely the dimension of aesthetic creation and the dimension of aesthetic appreciation.The second chapter discusses what are the characteristics of aesthetic creation,specifically it is divided into the preparation stage of aesthetic creation and the process of aesthetic creation.The third chapter combines Su Shih’s philosophical and literary views to explain the connotation and rationality of the "human".Finally,the end of this work pays attention to the characteristics and reasons of"the uniformity of poetry and painting" in the study of aesthetics and art theory today,and investigates the relationship between modern aesthetic changes and the relationship between poetry and painting from the historical and cultural background.