Abstract

As a historical tradition，“The identity of poetry，calligraphy and painting”is an important feature of Chinese culture，and has potentially influenced by it.Since the 20th century，Chinese writers have，in various ways，paid attention to，intervened in and thought about traditional calligraphy and painting，folk art and Western painting in different ways，and put forward many views and opinions worth exploring.In the coordinates of massive culture and massive art，this book has interpreted the artistic discourse put forward by Chinese writers in the 20th century in different forms and from different angles，examined the complex relationship between modern and contemporary writers’artistic ideas，literary concepts and literary texts，and thus excavated the traditional ideological and cultural resources of literature and fine arts convergence，and highlighted cultural self-confidence of the modern and contemporary Chinese literature.

The main body of the book is composed of three parts：

Ⅰ.The macro-ideological background of Chinese writers’art thoughts in the 20th century

Chinese literature and art in the 20th century shared the same ideological background of aesthetic culture.The May 4th Movement，the Literary Revolution and the Art Revolution jointly attacked the old literature and art，and initiated a new space for scientific realism in the modern development of literature and art.Afterwards，from 1927 to 1976，influenced by multiple factors of social，political and cultural changes，literature and art developed hand in hand，and presented a macro trend of thought of instrumentation and popularization.In the 1980s，cultural changes accelerated.Literature and art jointly intervened in such ideological trends as scars，roots and vanguards，and aesthetic consciousness gradually changed.At the end of the 20th century，literature and art continuously realized the cross-border of art by paying attention to daily life.On the basis of analyzing its phenomena，causes and trends，this book has pointed out the main trend of aesthetic and its influence on the development of literature and art in the new century.

Ⅱ.The Group，Individual and Art Type Presentation of Chinese Writers’Art Thoughts in the 20th Century

Chinese writers in the 20th century had different involvement and thinking about art.From the writers’level，there were both group-oriented and individual-oriented examinations.On the discussion of art types，they not only paid attention to woodcut，but also gave a lot of consideration and thinking to Chinese traditional painting and calligraphy from a multi-dimensional perspective.

From the level of writers’group，They mainly chose the crescent poetry group，which has more artistic expositions and more explanatory space，to interpret.On the basis of analyzing the common interest of the Crescent School in art and the relationship between traditional painting and calligraphy，this book examined the artistic influence of the crescent school’s poetry practice and poetic concepts，and explored specifically the artistic views of Wen Yiduo and Xu Zhimo，the core figures of the crescent school.They have critically examined western art，and their concepts gradually tended to be traditional.

From the individual point of view，the writer mainly chose typical writers who were deeply involved in fine arts and had great influence to discuss.From the perspective of art，Lu Xun and Shen Congwen were compared and interpreted.This book probed into the differences between Lu Xun and Shen Congwen in painting experience，calligraphy style and art interest，and analyzed the differences in their art interests，aesthetic consciousness and their internal relationship with literary aesthetics.Lu Xun and Shen Congwen both paid attention to woodcut art and discussed the local color of woodcut art.They had different views.In the development of woodcut art，Lu Xun was more optimistic than Shen Congwen.

As for the interpretation of specific art types，Chinese painting and calligraphy，which were closely related to literature，were mainly chosen to be interpreted by writers.Firstly，it examined the traditional painting views of Chinese writers in the 20th century.Combining with the tradition of Chinese painting and calligraphy and its modern situation，this paper put forward the theory of the type independence of the writer’s painting and calligraphy，from which we could see the humanistic spirit orientation and aesthetic significance of the writer’s painting and calligraphy.This paper combed a series of viewpoints on traditional painting and its literary relevance put forward by Feng Zikai，Wang Zengqi and Jia Pingwa.Based on their painting practice，it probed into the modern significance of the traditional painting view of modern and contemporary writers and its common aesthetic and cultural orientation.Secondly，through the analysis of the excessive artistry of contemporary professional calligraphy and the lack of artistic spirit，this paper put forward the significance of writers’cultural calligraphy，and then interpreted the different cultural views of contemporary writers born in different periods.Most of the contemporary writers had the old learning accomplishment，and most of their views on calligraphy touched on the traditional culture.The writers born after 1949 mostly talked about calligraphy from the perspective of artistic aesthetics and cultural cultivation，which showed the inherent differences in the writers’vision of calligraphy art.However，unlike professional calligraphy，which attached too much importance to skills and techniques，contemporary and contemporary writers emphasized the relationship between calligraphy creation and spiritual culture and individual accomplishment，reflecting the humanistic spirit of calligraphy.

Ⅲ.The Multiple Relations between Chinese Writers’Artistic Thought and Literary Texts in the 20th Century

In the 20th century，Chinese writers’artistic thoughts had different relations with the subject matter and aesthetic thinking of literary texts.Firstly，the artistic writing and ideology of the novel were interpreted.It pointed out that art writing was also a kind of art thought.It interpreted Ding Ling’s Mengke，scar novel，Wang Zengqi and Jia Pingwa’s novel respectively.These artistic writings were closely related to the times.Artists’images，paintings and artistic backgrounds showed different ideological trends，projecting writers’keen entry into the relationship between art and the times.While taking on different narrative functions，art also embodied the deep consciousness of modern and contemporary writers to intervene in the times with art writing.Secondly，it summarized and explained the artistic concepts of blank space and local color and their literary practice.This book discussed the three ways of blank-leaving in novel creation：structure form，character plot and brake-end.It also put forward three literary forms of local color：landscape custom，dialect application and form skill.Finally，it pointed out the practical meaning of blank-keeping and local color category and the possibility of constructing the subjectivity of meaning and culture.

Generally speaking，from the perspective of aesthetic otherness，the book involved art in literary research and used literary thinking to perspective the scattered and confused artistic ideas of Chinese writers in the 20th century.It strove to combine writers’groups，individuals and different types of art to connect literary texts with artistic concepts，and to link literary trends of thought with artistic practice.With the comprehensive involvement of multi-disciplines of iconography，aesthetics，history of fine arts and history of ideology，and the way of cross-interaction between comparison and systematic view，this book examined the artistic phenomena in which new literary concepts and art ideas interacted and influenced each other，and combed the historical experience of the coordinated development of Chinese literature and art for more than a hundred years.To serve modern and contemporary literature interdisciplinary research with fine arts，this book has provided a new academic growth point.