此論文為更深入地瞭解對含括各時代及文化之詩作和繪畫關聯探討的入門，亦為 探索此兩種領域中共通特性之指南。 根據導論，本文並不對歐洲詩作及繪畫題材的選擇方法做分析。即使過於理論化，此論 文仍欲以廣泛及多元化的觀點對這兩種跨學科的領域做一總結。 重點在於要追溯這兩種領域的根源。這不但可回溯到希臘戲劇的開端，亦顯示詩作和繪 畫似乎皆由中石器時代如舞蹈般的祭典發展而來。 在下文中以社會文化的觀點對歐洲詩作及繪畫所做的說明是依據時代來做劃分，並利用 與以往不同的方法對其源流進行研究。這也許有俾於說明歐洲的詩作、繪畫與社會階層問的 連繫。 此觀點和是否能單以理論一刀兩斷地區分近代歐洲的詩作及繪畫並無太大的關聯。詩作 及繪畫皆源自史前時代，並藉由人類對生命、世界和本身想像的延續過程而昇華，就如同啟 發性的循環 (heuristic spiral) 一般。 因此關於荷瑞斯 (Horace) 的 ut pictura poesis 和萊辛 (Lessing) 對此所持的反立 場之爭論，也許能藉此機會得到結論。詩即是畫，沒有任何一者能凌駕對方。兩者皆出於同 根同源。
This paper is to be understood as a preliminary step into broader and df research concerning the manifold relationships of poetry and painting in general, that means throughout times and cultures. Thus, it is directed at the search for universal features that may be effective in both fields. According to its introductory character this endeavor will not start analyzing some choice of works from the stock of European poetry and painting for comparison. Though it may appear speculative this paper tries to sum up the vast and multiplex spectrum of these two manifestations of human creativity from an interdisciplinary point of view. Emphasis is laid on tracing to the roots in both fields. This will point back farther than upon the source of Greek dramatic art and attempt to show that poetry and painting seem to stem from the same magical origin of Mesolithic ritual performance as dance alike. The following display of socio-cultural aspects functional in European poetry and painting likewise unfolding with the times submits a classifying range, which might be apt to review the matter in a different than conventional way. It may help disciose patterns of strata consolidated in the works of European poetry and painting. From this view it does not matter much that modern European poetry and painting splat seemingly as stated by implacable theories dividing them once and forever. They tend both to turn back to their prehistoric origins but leveled up by the inherited process of human conceptions about life, world, and Man, like in a heuristic spiral. Hence, the great controversy about Horace's word utpicturapoesis and Lessing's refusal may be resolved. Poetry and painting, none of them can take the lead over the other. Both are they bound embedded in the same ground and following the same ideas.
