On the development and evolution of poems and postscripts获奖科研报告

Onthedevelopmentandevolutionofpoemsandpostscripts获奖科研报告AsstudentsoftraditionalChinesepainting，onlytolearntraditionalChinesepaintingofthedoorisnotenough，asChinesetraditionalculture，poetry，calligraphyandpainting，andsoonallhaveinnerlinkandprofoundtraditionalcultureisnotthetraditionalChinesepaintingcanincludeadoorSothereisthenecessityoflearningaboutpoetryMayalsobetounderstandthetraditionalcultureofotherknowledgebeforeIusedtothinkofpaintingpoetrytopicextraction，thatpoetryisintheserviceoftheimages，therelationshipbetweenthetwocomplementeachotherHereitisdividedintopoetryandinscriptiontwooppositetounderstandfirst，tounderstandthedevelopmentofpoetry.

InthehistoryofChineseliterature，wecanseetheearliestpoetryisaboutthreethousandyearsagointhebookofsongs，thisisthefirstanthologyofpoetryinChina，atotalofthreehundredandfivearticles，calledpoemorstartedAnditscontenthasthewind，thethreeparts，thepointsfromtheAngleofmusicHaveassignedonthetechniqueofexpression，biandxing3kindsSothepredecessorstothewind，elegant，praiseandfu，than，xingcalledthesixrighteousnessofpoetryOnthesyntaxofthelanguage，basicallybefourwordsentence.

Intheweijinsouthernandnortherndynasties，therulesofpoetryandrhymeshaven'teveryoneabidebythelawsoftheformation，justbytheauthoraccordingtotheindividualneedsanddevelopmentofthecontentofthefeelingforwritingInweiandjindynasty，duetotheVaticansoundofIndia（calledtianzhu）study，theinfluenceofthedevelopmentofourcountry'sChinesephonologistJiLiangweeksYongandShenYaosummarizesthelawofthepronunciationofChinesecharacters.

Theaboveisabriefaccountofthedevelopmentofpoetry.Afterunderstandingthedevelopmentcontext，weshouldbegintolearnhowtowriteasimplepoem.Atthattime，theteacherrecommendeda"searchrhyme"WeChatofficialaccount，whichwasveryhelpful.Enteringyourownpoemscanquicklyfindoutthemistakesinsentencepatterns，andthentrytofigureouthowtochangethem.Thereisahugegapbetweentheancientpeople'spoemsandthescenesthatarefamousforagesafterdrinking.Afterall，themodernlearningenvironmentisdifferentfromtheancientpeople，andclassicalChineseisreplacedbyvernacularChinese.

Paintingpostscriptusuallyreferstothewordswrittenontheattachedpaperssuchaspicturescrollandalbum，andinabroadsense，italsoincludesdescriptionsandpoems.BeforeMingDynasty，paintingandcalligraphyworkswereverysimple，commonlyknownas"soloflight"（i.e.，singleflight，suchassolitarygeese）or"doubleflight"（i.e.，doubleflight，upperandlowerflight），andonlyafewliteratipainterswrotepoemsandinscriptionsonpaintingandcalligraphy.Inthemid-MingDynasty，literatipaintingflourished，andwritingpoemsonthispaintingandcalligraphybecamethetrend.BeforeYuanDynasty，calligraphydidn'thavemuchverticalaxisform，butitdidn'tappearuntilMingDynasty.Paintingpoemswithinscriptionsisgenerallycalled"poempainting"，"poemtitle"or"poempostscript"，especiallythosewhousepoetryinsteadofpostscript（text），addpostscripttopoemsoraddpoemstopostscript，itseemsthatitisnolongerstricttolimitthepositionofthetitle，butfromthepointofviewthatwritingpostscripttopoemscanonlybecarriedoutafterthepaintingiscompleted，andForthesakeofclearwriting，theauthoronlyreferstotheshortessaysontheattachedpaperssuchaspicturescrollandalbum，whiletheinscriptionpoemsorpostscripttextsonthepaintingsareclassifiedas"inscriptionpoems".Inrecentyears，afterseeingthepaintingoftheflowerarmorfinished，Irespectfullyaskthecalligraphertopaintthepaintings，andafterrepeatedconcessions，Ican'thelpbutcatchthepenanddroptheink.Atthistime，ifIlookforapoettoreplacemeorifI'm"stunned，Iwon'tcome"，I'llalwaysletthevillainseeit.

Poetry，aspoetsbeforeTangDynasty，suchasTaoYuanming.Andtheclassicalbookofsongs，althoughtherearepoemsthataredeliberatelysungduringsacrifice，aremostlywrittenbyancientworkingpeoplebecauseoftheirlifefeelings.Poetryistheexpressionofpassion.Peoplewhoaretooutilitarianwillnothavepoetry.Poetryisthepatentofchildlikeinnocence.Withoutcuriosity，careandsincerity，therewouldbenorealpoetry.

Reference：

[1]SilviaJi.ThetruevalueofflowersandtheireffectontheDutcheconomy.AninterdisciplinaryrelationshipbetweenArtandEconomics[J].ResearchinEconomics，2020.

[2].AStudyonTangYinsLandscapePaintings：FocusingonHisRelationshipwiththeCommissioners[J].，2019，8.

[3]SpatialCompositionandSymbolisminRussianGenreandLandscapePaintingswithmotifsofRussianOrthodoxChurch[J].，2019，31（4）.

[4]LeeSoomi.BroadeningtheUnderstandingofSixteenth-centuryRealSceneryLandscapePainting：GyeongpodaePavilionandChongseokjeongPavilion[J].MISULJARYO-