钱钟书先生在《中国诗与中国画》一文中确认了一种很有趣的事实:“中国传统文艺批评对诗和画有不同的标准;评画时赏识王士祯所谓‘虚’以及相联系的风格,而评诗时却赏识‘实’以及相联系的风格。”因此,“画品居次的吴道子的画风相当于最高的诗风,而诗品居首的杜甫的诗风只相当于次高的画风。”于是,“用杜甫的诗风来作画,只能达到品位低于王维的吴道子,而用吴道子的画风来作诗,就能达到品位高于王维的杜甫。”由于有了这种标准上的分歧,杜甫一直当着他的“诗圣”,其地位至今不见动摇;王 Qian Zhongshu confirmed an interesting fact in his article “Chinese Poetry and Chinese Painting”: “Chinese traditional literary criticism has different standards for poetry and painting; while appreciating Wang Shizhen’s so-called ’virtuality’ and the style of association , But while appraising the poem, he appreciates ’real’ and the related style. ”Therefore, Wu Daozi’s style of painting is equivalent to the highest poetic style, while Du Fu’s poetry style of poetry is only the second highest Thus, “painting with Du Fu ’s poetic style can only reach Wu Daozi, whose grade is lower than that of Wang Wei, and with Wu Daozi’ s style of painting, he can reach Du Fu with a higher grade than Wang Wei. Because of this standard disagreement, Du Fu has been in his ”poem", its status so far has not been shaken; the king