The art of William Blake's poetry and painting expresses one kind of sincere, unadorned and pleasant style. Blake's processes of creation does not add a painting for a poem or fill in a poem for a painting, but produces mutual creation of the symbiosis between poetry and painting. His art of poetry and painting opens up the realest window in to the abyss of his mind to present a natural poetic flavor and picturesque scene. In essence, color elements are not only regarded as the mirror of Blake' s poetry and painting thought, but also one kind of color language to express poetic imagery. His poetic creation thought could be expressed by colors in his picturesque scene. The keynote of colors would originally recover true feelings and poetic visual characteristics in his poems. On the one hand, Blake is expert in applying transparent, pure, bright, gorgeous, delicate and graceful colors to pour out his poetic quality and flavor, which would express his emotion of hymn for kindness, benevolence, and harmony. On the other hand, he also make his efforts in applying all kinds of strong contrast colors, such as gloomy, garish, muddy, and dark colorful tones, to abstractly present his poetic emotion and indirect meaning. The mirror images of colors shine upon the themes, epics, ideas, prospects, metaphor and symbolism of his poetry from superficies to interior. Blake gives the rein to his imagination with the fusion of recreation elements. His art of poetry and painting presents the visual imagination of compassion and hope. He did not vent his difficult experience, indisposition of body, and disaffection from heart on creation but showed his beautiful and magnificent poems and paintings to people. His poems are highly full of ethical ideals, civilization effects and inquisitions of kindness and evil intention. He wanted to pursuit pursue a sublimation of sprit and expresses voice the good cosmopolitan of the world. Blake's creation motif embodies his idea that he would be clear about what to love and what to hate recover his original simplicity and imagine glorious picturesque scene from the Songs of Innocence and of Experience to the Drawings of Divine Comedy. His motif becomes a main major line of his creation thought and is well versed in his art of poetry and painting. The former the Songs of Innocence and of Experience has a tendency from the art of poetry to the art of painting, and the later the Drawings of Divine Comedy tends to fly back the art of poetry from the art of painting. His road of artistic creation achieved mastery through a comprehensive study of visual aesthetic imagist imagery to realize the fusion from the art of poetry to the art of painting. The three innovative aspects stand out: firstly, this article analyzes the intertextuality of Blake's poetry and painting and exhibits the fusion of visual art. It also reflects on his creative motif of truth, morality and beauty to pursuit pursue sublimation of sprit and presents a voice the good cosmopolitan of the world. Secondly, it is the comprehensive study of color elements from the art of Blake's poetry and painting. Color as a mirror is deeply influenced to read into reflects Blake's metaphorical connotations and poetic implications. In this way, color elements could appraise Blake’s vital spirit of sincere, kindhearted and honest from his poetry and painting. Thirdly, from the view of aesthetic visualization, this article explores the aesthetic imagination and creative thought of Blake's poetry and painting. Not only from historical heritages, but also in contemporary diffusion of arts and literatures, we could gain experiences and enlightenments from Blake's creative specialty of classical poetry and painting, not only from historical heritages, but also in the contemporary diffusion of arts and literatures.
应宜文. 论威廉·布莱克《天真与经验之歌》与《神曲》的诗画融合[J]. 浙江大学学报(人文社会科学版), 2019, 5(2): 148-.
Ying Yiwen. The Fusion of William Blake's Poetry and Paintings in the Songs of Innocence and of Experience and the Drawings of Divine Comedy. JOURNAL OF ZHEJIANG UNIVERSITY, 2019, 5(2): 148-.