UT PICTURA POESIS : INTUIÇÕES PARA A EXPERIÊNCIA CHINESA – UM ESBOÇO“詩畫一心” 對中國繪畫的啟發：隋筆紀要
The article proposes a historical-aesthetic reflection on the relationship between painting and poetry in the Chinese experience, taking as its axis the expression "詩畫一心" ("poetry and painting, one heart") and the case of Gu Kaizhi (4th–5th centuries) as a point of observation of the artistic "canon...
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| Published in: | Review of Culture |
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| Format: | Articles |
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Instituto Cultural de Macau
2017
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| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40055/2295 |
| Summary: | The article proposes a historical-aesthetic reflection on the relationship between painting and poetry in the Chinese experience, taking as its axis the expression "詩畫一心" ("poetry and painting, one heart") and the case of Gu Kaizhi (4th–5th centuries) as a point of observation of the artistic "canon." From a contextual reading of epigraphs and commentaries—with particular emphasis on the famous formulation attributed to Su Shi regarding Wang Wei's painting "Lantian, mist and rain"—the author argues that the communion between the arts is explained not merely by literary themes transposed into the image, but by a functional equivalence at the level of intentionality, emotional state, and regimes of appreciation. Methodologically, the text articulates exegesis of literate sources, reconstruction of the traditional hierarchies of the "arts," and a suggestive comparison with a classical Western text, in order to illuminate the particular status of Chinese artistic practice as an integrated system. Among the main results, it is highlighted that "painting that poeticizes" and "poetry that paints" operate as cognitive categories for understanding "hybrid" works (painter-poet/calligrapher-poet) and for reassessing the formation and social function of the artist within a culture centered on poetic writing. |
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| ISSN: | 1682-1106 |