introduction

In the 1970s, Cheng Baoyi published three works on Chinese poetry and painting in French in Paris, using structuralist methods to study Chinese poetry and painting. Scholars have found that there is a dialogue between painting and poetry in Cheng Baoyi's poetry and painting art, and his poems contain artistic landscapes. French painters were inspired by him to create poetry albums. In Cheng Baoyi's poetry and painting philosophy, the early exploration of concepts such as "emptiness" and "qi" provided inspiration for his later creations. He used the cosmology constructed by Taoist classics and other theories to comprehensively grasp Chinese poetry and painting, creating a unique literary and artistic charm. This article aims to delve into Cheng Baoyi's research on the language of poetry and painting, explore the aesthetic implications of his "poetry and painting co discourse" pattern, investigate his philosophical thinking under the "integration of poetry and painting" feature, present his sublimation from a holistic view of poetry and painting to a holistic view of the universe, and restore his artistic panorama of poetry and painting that tends towards emptiness, Taoism, and openness.

1、 The Aesthetic Implications of Poetry and Painting Co discussion

Cheng Baoyi began translating and introducing classic poems from both China and France in the 1960s. In the 1970s, he created several works of poetry and painting research, which received attention from the Western academic community. He integrated the concept of the same origin between ancient Chinese poetry and painting with the Western artistic tradition of "painting as a painting", forming a shared discourse pattern between poetry and painting. Cheng Baoyi believes that there are similarities in the relationship between poetry and painting between China and the West, and through dialogue, he explores and compares the aesthetics of China and the West. He combined the traditional Chinese poetry and painting with Western artistic expression forms, and came up with an aesthetic cognition that poetry and painting have similarities but differences. Cheng Baoyi regards structuralism and semiotics as media to break down the cultural barriers between China and the West, and regards poetry and painting as "broad language" with a mutually arising and rich relationship. He re examined the elements of poetry and painting, such as phonetics, rhythm, and imagery, and discovered the aesthetic and philosophical significance of Chinese poetry and painting. Cheng Baoyi's holistic view of poetry and painting art encompasses features such as the integration of poetry and painting, the transformation of reality and virtuality, emphasizing the value choices of the unity of poetry and painting, the unity of reality and virtuality, the unity of yin and yang, and the unity of heaven, earth, and humanity. He takes Wang Wei and other "painters poets" as examples to demonstrate that they create a complete and organic four-dimensional universe by coordinating poetry and painting. Cheng Baoyi's holistic view of poetry and painting art successfully broke down the barriers between virtual and real, yin and yang, and human and nature in ancient Chinese literature and art, and moved towards a holistic view of the universe. He compared the similarities between ancient Chinese poets and Italian Renaissance painters in depicting female images in his book "Five Meditations on Beauty", and believed that they both integrated the wonderful elements of nature. Cheng Baoyi's holistic view of poetry and painting art deepens his creative style, elevating his contemplation on themes such as life, existence, and death to the level of human spirit, and demonstrating philosophical significance.

2、 Philosophical exploration of the integration of poetry and painting

The traditional Chinese and Western art has established the concept of the same origin or consistency between poetry and painting, which has influenced the creative style of later generations. The integrated style of poetry and painting is reflected in the critical and creative paradigms of poetry and painting, painting and interpretation of poetry, or poetry and painting co discourse, as well as the appearance of poetry and painting images on the same page. Cheng Baoyi inherited the two dimensions of the integrated style of poetry and painting in literary creation and literary criticism, and created Baudelaire style poetry works that combine poetry and painting, as well as calligraphy works that combine poetry and calligraphy. His integrated style of poetry and painting showcases a holistic artistic view that combines poetry and painting, as well as poetry and calligraphy, and continues the aesthetic principles of the early stage of poetry and painting art research. Cheng Baoyi's poetry and painting art explores philosophical propositions such as life, death, and existence, attempting to reveal the hidden and authentic life, reality, and world through dialogue across Chinese and Western cultures. His poetic thoughts have deep philosophical significance, exploring the spiritual rebirth that humanity may touch behind suffering, death, and religion. Cheng Baoyi explores the theme of suffering in painting in the form of poetry, integrating the words of poetry with the scenery of painting, concentrating Western intellectual wisdom, and giving birth to philosophical reflections on the relationships between suffering and pleasure, good and evil, beauty and ugliness. His calligraphy works, which combine poetry and calligraphy, enable the wandering soul to achieve self salvation, demonstrating his clever craftsmanship in using art to ask questions in the transcendent "virtual" or "too virtual". Cheng Baoyi has always been based on the concept of "emptiness", utilizing the ontological significance of "emptiness" in Taoist thought to construct a holistic view of the universe composed of elements such as "qi" and "chong xu", reflecting the unique wisdom of Eastern aesthetics and philosophical thought.

3、 The poetic and artistic conception of moving towards emptiness and the Tao

Cheng Baoyi regards poetry and painting as a whole in his works, emphasizing the influence of the mutual infiltration of spatiality and temporality on artistic creation. He integrates the concepts of "qi" and "xu" from traditional Chinese aesthetics, believing that these are the foundation for constructing an organic system and a holistic view of art. In "Research on the Language of Chinese Poetry" and "Void and Reality: A Study of the Language of Chinese Painting", "void" becomes the theoretical cornerstone, while in "The Book of Chongxu" and "The Transformation into Symbol", the concept of "void" becomes vivid through literary imagination and brush and ink lines. Cheng Baoyi comprehended the "True Way" from the concept of "reaching the extreme of emptiness" and pursued the realm of "being one with the Way".

conclusion

Cheng Baoyi combines traditional Chinese poetry and painting art with Taoist thought, incorporating Eastern elements into his poetry and painting creations through Western thinking paradigms and aesthetic concepts, forming a unique artistic perspective. His works explore philosophical themes such as life and existence, achieving a harmonious resonance between poetry and painting art, life, and the universe.