诗与画在种类形态上的对应发展,比肩繁荣,是中国艺术的一种独特现象.咏物诗与花鸟画,山水诗与山水画,咏史诗与故实画,题画诗与诗意画的此呼而彼应,联接而滋生,使诗与画犹如两条并行着的巨大山脉蜿蜒起伏于中国文化史的图版上.倘若说,山脉的走向,一方面取决于地壳运动的趋向,一方面又构成了地貌的特征。那么中国诗与中国画在种类形态上的对应发展(虽然并非是全部的对应),也同样既是中国特定的文化结构、文化范式的产物,同时又是中国特有的文化风貌的典型样态. 一切的审美活动都始于审美注意,一切的审美注意都隐含着由主体意趣所主宰的期待视界.期待视界——审美注意——题材选择,构成了艺术家审美心理活动的定向系统。面对着无限丰富的现象世界,当艺术家们把审美注意群体性承续性投向某一个或某几个区域的时候,也便使得题材选择的结构后果(即艺术体裁)的出现成为可能.在中国,诗与画的交叉,首先表现为诗人和画家审美注意的趋同指向.当诗人和画家对应的不断的把 Poetry and painting in the corresponding morphological development, shoulder to shoulder prosperity, is a unique phenomenon of Chinese art. Chanting poems and flowers and birds painting, landscape poetry and landscape painting, poetry and the real story of poetry, painting and poetic And they should be connected and breed, so that poetry and painting are like two huge mountain ranges meandering and winding down on the map of the history of Chinese culture.If we say that the direction of the mountains, on the one hand, depends on the tendency of the crustal movement, on the one hand Constitute the characteristics of the landscape. Then the corresponding (though not all correspondence) development of Chinese poetry with Chinese painting is also a product of China’s specific cultural structure and cultural paradigm, but also a typical embodiment of China’s unique cultural landscape. Aesthetic activities begin with the aesthetic attention, and all the aesthetic attention implies the horizon of expectation which is dominated by the subjective interest.The expectation horizon - aesthetic attention - theme selection constitutes the directional system of the artist’s aesthetic psychology activities. Faced with an infinitely rich phenomenal world, when artists focus aesthetic attention on group or area in a certain area, the emergence of the structural consequences (ie genre) of the subject matter becomes possible. China, the intersection of poetry and painting, first manifested as convergence of poet and painter attention to the aesthetic point of attention when the poet and painter corresponding to the constant