scholarly journals Classical Chinese Landscape Painting and the Aesthetic Appreciation of Nature

2009 ◽  
Vol 43 (1) ◽  
pp. 106-121 ◽  
Author(s):  
Matthew Turner
Keyword(s):  
Landscape Painting ◽  
Aesthetic Appreciation ◽  
Classical Chinese ◽  
The Aesthetic ◽  
Chinese Landscape Painting

scholarly journals Mountain Waters: Using Chinese Landscape Thought As a Frame for Architectural Practice in China

2019 ◽  
pp. 292-306
Author(s):  
Matthew Priestman RIBA
Keyword(s):  
Cultural Landscape ◽  
Rapid Change ◽  
Theoretical Framework ◽  
Landscape Painting ◽  
Architectural Practice ◽  
Human Habitat ◽  
Classical Chinese ◽  
Chinese Landscape Painting ◽  
The City ◽  
Spatial Problems

Working on many scales and types of projects in China at times of rapid change, the writer is founder of his own architectural practice Priestman Architects now based in Chongqing and is a PhD candidate at London’s University of Westminster. Environmental, socio-economic and spatial problems persist and metamorphose; the phenomenon of the burgeoning and dominant human habitat of the city is also faced with rapid change from new forms of occupation and technologies. Promoting hopeful visions of the unruly city and its interrelated fringes is a pressing need. This paper proposes an outline theoretical framework using ideas of cultural landscape in China to better frame and locate architectural work. The paper starts with Living off Landscape by Francois Jullien which discusses the potency of Chinese ideas of landscape against the limitations of European landscape thought and includes a discussion of photography as the primary media beyond painting that is extending ideas of landscape. The paper considers the use of the path in classical Chinese landscape painting as a conceptual, cultural and physical thread linking the non-urban to the urban. There, the building - heroic object or urban component - can both accommodate exterior contexts and combine resonant interiorities to constitute a fertile field where social and private domains touch.

Wilderness in Ancient Chinese Landscape Painting

2020 ◽  
Vol 42 (3) ◽  
pp. 253-266
Author(s):  
LuYang Chen ◽  
Ziao Chen ◽  
Keyword(s):  
The Other ◽  
Ecological Environment ◽  
Chinese Painting ◽  
Landscape Painting ◽  
Chinese People ◽  
Unique Form ◽  
Natural Landscape ◽  
Cultural Connotation ◽  
The Aesthetic ◽  
Chinese Landscape Painting

Chinese painting is dominated by landscape painting, which is a unique form of artistic expression for Chinese people, while landscape generally refers to nature. Wild natural landscape can be called “wilderness,” which embodies the vitality and upward vitality of nature, and also contains unique cultural characteristics. “Wilderness” is the most important “original ecological” environment in the natural environment. Its existence has natural, ecological, and aesthetic significance. It is nature in its primitiveness and ecology in its wildness; the aesthetic lives on in it. Compared with Western landscape painting, it pays particular attention to realism, good at depicting beautiful natural scenery and recording the reality of scenery. On the other hand, Chinese landscape painting pays more attention to the expression of connotation. Chinese landscape painting focuses on nature, takes meaning as its purpose and pursues culture. Chinese landscape painting is the outstanding expression of wilderness spirit, which is mainly manifested in three aspects: (1) Chinese landscape painting is of the same origin as “Tao” (道); (2) the “wilderness” in landscape painting has a strong vitality; (3) “wilderness” has a special cultural connotation. China’s wilderness is not ecological, but is vibrant; not in the dust, but out of the dust; not in nature, but in culture.

Bilingual and intersemiotic representation of distance(s) in Chinese landscape painting: from yi (‘meaning’) to yi (‘freedom’)

Semiotica ◽  
2018 ◽  
Vol 2018 (225) ◽  
pp. 293-311
Author(s):  
Chengzhi Jiang ◽  
Chunshen Zhu
Keyword(s):  
Visual Arts ◽  
Systemic Functional Linguistics ◽  
Landscape Painting ◽  
Spiritual Journey ◽  
Sign Systems ◽  
English Bilingual ◽  
The Aesthetic ◽  
Spiritual Freedom ◽  
Chinese Landscape Painting ◽  
Chinese And English

AbstractThis paper studies cross-modal distance representation in traditional Chinese landscape painting in a contemporary museum context with special reference to the classic three axes of distance, i.e. level, deep, and high “distance.” It observes how an artwork’s “meaning” can be perceived through the bilingual presentation of the “distances” to bring about the realization of a “meditative distance,” or the artist’s aesthetic aspiration for a spiritual “freedom.” Informed by the theory of three meta-functions in Systemic Functional Linguistics and Arnheim’s discussion about distance cues, the study has closely examined a classical landscape painting in conjunction with its Chinese and English bilingual museum captions, with a view to tracing out their discursive meta-functions based on the visual-verbal coherence of distance representation. In so doing, the study takes museum discourse as a holistic multimodal interactive process of different sign systems at three levels of communication (i.e. extratextual, intersemiotic, and intertextual) to enable the modern viewer to better appreciate the aesthetic aspiration nursed by the meaning of the pictorially depicted distance(s) in an ancient landscape painting. The findings of the study will not only contribute to a better aesthetic contextualization of the traditional Chinese visual arts but also, in a practical vein, to the construction of a more informed museum discursive environment conducive to a spiritual journey, or a mental transcendence, that keeps the mundane world at a “meditative distance.”

scholarly journals Blue mountains, empty waters: the evolution of Chinese landscape painting under the influence of Chan Buddhism

2015 ◽  
pp. 48-54
Author(s):  
Rudi Capra
Keyword(s):  
Han Dynasty ◽  
Landscape Painting ◽  
Chan Buddhism ◽  
Blue Mountains ◽  
The Past ◽  
Eastern Cultures ◽  
The Aesthetic ◽  
Chinese Landscape Painting ◽  
Far Eastern ◽  
The Silk Road

In this paper I will describe the evolution of Chinese landscape painting throughout the period which led from the awareness of a primordial aesthetics to the emergence of Chan Buddhism. In fact, since the Chan tradition had a pervasive and profound impact on the Far Eastern cultures, it should be analysed in a more rigorous manner than it was in the past. In particular, my thesis is that the Chan Buddhism consistently influenced the aesthetic canons and artistic themes of the epoch, expressing through the artworks original concepts and relevant philosophical ideas. Buddhism came very early to China, brought by merchants along the Silk Road and by the sea-routes. It started spreading during the Han dynasty (206 BCE – 220 CE), and the first historical proof of Buddhist influence dates back to the 1st century CE. In 148 CE the Pali Canon was translated in Chinese by the monk An ...

Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture

2021 ◽  
Vol 7 (5) ◽  
pp. 3344-3351
Author(s):  
Xinquan Ma ◽  
Xiaofang Yao ◽  
Kwon Hwan
Keyword(s):  
Art History ◽  
Song Dynasty ◽  
Global Perspective ◽  
Chinese Art ◽  
Landscape Painting ◽  
Environmental Aesthetics ◽  
Northern Song Dynasty ◽  
Modern Cities ◽  
Northern Song ◽  
The Aesthetic

Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

Shitao and the Enlightening Experience of Painting

2021 ◽  
Vol 31 (3) ◽  
pp. 93-112
Author(s):  
David Chai ◽  
Keyword(s):  
Song Dynasty ◽  
Aesthetic Experience ◽  
Landscape Painting ◽  
Classical Approach ◽  
The Song Dynasty ◽  
Scientific Approach ◽  
Old Masters ◽  
Chinese Landscape Painting

Having reached its zenith in the Song dynasty, Chinese landscape painting in the dynasties that followed became highly formulaic as artists simply copied the old masters to perfect their skills. This orthodox approach was not accepted by everyone however; some painters criticized it, arguing it was better to learn the ideas behind the techniques of the old masters than to blindly copy them. Shitao was one such critic and his Manual on Painting exemplifies his desire to disassociate himself from the classical approach to painting. This paper will investigate the three major themes of Shitao’s text—the holistic brushstroke, brush and ink, and the method of no-method—in order to show how they shaped his view of landscape painting and how said paintings subsequently embodied them. Unlike the near-scientific approach taken by his contemporaries and predecessors, Shitao paints to capture the unifying simplicity of nature, an onto-aesthetic experience that is profoundly enlightening.

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