If the European doctrine of the unity of the arts was formed when poetry and painting became isolated, self-realized, became self-sufficient, then in the Chinese philosophical and aesthetic consciousness the whole world is permeated with Tao, and hence the arts are initially united. In this context, Tao initially removed any opposition, duality, tension between poetry and painting, it was also the basis of their synthetic connection. For the manifestation (expression) of the Tao to the Chinese, one painting or poetry is not enough, although they existed (as, incidentally, architecture, literature, musical art) independently, as the Sky is One, and Tao is universal. Hence, the so-called synthesis of ‘landscape poetry' and painting is so characteristic of China's traditional culture, which in turn required the artist, poet, calligrapher, architect, scientist, or official to become aware of this fundamental principle and made the creative person more multifaceted through art synthesis.
如果说欧洲的艺术统一学说是在诗歌和绘画变得孤立，自我实现，变得自给自足的时候形成的，那么在中国的哲学和审美意识中，整个世界都充满了道，因此艺术最初是 联合的。 在这种情况下，道最初消除了诗歌与绘画之间的任何对立，二重性，张力，这也是它们综合联系的基础。 对于道向中国的表现来说，一幅绘画或诗歌是不够的，尽管它们独立地存在（例如，建筑，文学，音乐艺术），因为天空是唯一的，道是普遍的。 因此，所谓“山水诗”与绘画的结合是中国传统文化的特征，这反过来又要求艺术家，诗人，书法家，建筑师，科学家或官员意识到这一基本原理，并使其具有创造力。 通过艺术综合，人变得更加多元化。