It is argued that the richness of the art is largely defined by the fact that there should be a combination of words and images. Described to be the vital concept of the understanding of the foundation of cognitive psychology, it is elucidated that both words and images have a way of working to please the mind. Historically, the basis of Chinese art has been founded on the principles of cognitive psychology. Chinese painting is sometimes regarded as a silent poetry or in other literature referred to as the painting with sound. The basis for his identity when referring to the unique piece of Chinese art has been from the fact that scholars would be trained in the historical times on the techniques that define the age of the handwriting also called calligraphy.
A fundamental facet of the Chinese art has been the elucidation of the Three Perceptions that constitute calligraphy, painting, and poetry. In all the assessments, it is vital to outline that there has been an interconnection of the three and Chinese art pioneer have largely based their construction around the definition of these three. The description of the perfection is because the Chinese would display an exhibition of poetic works that was largely artistic to represent the three aspects of art.
Another key aspect of the art was that it was based on a class of beauty that was intimately detailed in the artistic creation in many of the paintings. The beauty of such constitutes the main reason for the uniqueness of the China-based art. It is outlined that the secret behind the finishing of these dynamics of art was largely based on the use of calligraphic brushstrokes that would be effected on a piece of paper.
Relation of Poetry and Chinese Painting
The uniqueness of the Chinese art is essentially outlined from the fact that it dates as far as the ninth century. During the time, it is noted that the pioneer who later became the legendary of Chinese history Po Chu-i wanted his poetry to be understandable by the women. This motivation prompted him to meet Yuan Chen, who was also interested in the art. After having a long relationship, Yuan died and the incidence prompted Po to record a poem, an incidence that acted as the foundation of the creation of a link between art and poetry.
The most discussed concept on the topic of the Chinese painting is the relation of the Literati painting and the literati poetry. Both of these factors have been defined in many genres of literature but their relationship has not gone as far as the understanding that they constitute the three facets of perfection. It is outlined that the literati painting act as a form through which it would be possible to understand a person in the dynamics of the junzi (“Traditional Chinese Painting — The Literati Tradition”). The inference further makes the claims that the junzi would be used to refer to being noble or being associated with the subjects. The specialist in this kind of painting is said to have used the pieces of art to display ethical personality form the fact that it would be use dot show technical showiness.
On the other side, it is also relevant to make the inference that literati art was defined both on the perspective of its painting and poetry. Again, as a fundamental facet of art, literati art is said to be a consequence of the Tang Dynasty that followed the death of Yuan that was preceded by the formation of the first poem (“Traditional Chinese Painting — The Literati Tradition”). There is a paucity of literature n the subject of the poetry, but it is believed that through the academic paintings, it was possible to elucidate the skill of the technique and its expression served as a foundation for the understanding of the three dimensions of perfection.
This concept is thought to be the highest form of the expression of the integration of visual arts in East Asia. In fact, according to Liu, the feature has been elucidated in many forms in the historical world in Asia culture. In fact, it is argued that the western nations tend to perceive this factor as a critical element in that it would be impossible to understand Chinese art without reference to the calligraphy factor. In fact, the secrets behind the origin are based on the spatial tensions that are determined by the movement of the brushes that are used in the paintings. The confusion, therefore, for the Western world comes from the realization that it is not well elucidated that to distinguish the various styles, one would have to identify the different ways the elements are integrated when they are attempting to look for a new effect that has been incorporated. The understanding of the calligraphy is therefore largely unique to the Chinese rather than the Westerners.