从杜甫题詠书画诗看文人地位之提昇

Abstract

In Chinese poetry, calligraphy, painting, and poetry ever since long time ago have developed into the excellent level. Although there are some works long before in calligraphy and painting art, they are basically thrived in the Eastern Han Dynasty. Even though many people like calligraphy and painting, the status of calligraphy and painting cannot be compared with that of the poetry. Until the heyday of the Tang Dynasty, calligraphy and painting get the equal status in the theoretical perspective. This position has laid a solid foundation for the prosperity of the literary art of the later generations and is the key node of the development of Chinese aesthetics. Du Fu was the first to create a large number of poems on painting and calligraphy. He marked the arrival of a new era. This article from the analysis of Du Fu's poetry, calligraphy and painting discusses the subjects of paintings and also argues about Du Fu on the faith of the expression and identity. Thus, in this article, I show that this critical period interaction between the various categories of art in the development history of Chinese aesthetics is one necessary annotation to understand the Chinese aesthetics.