A Chinese Landscape Painting of the Sung Dynasty

Charles Fabens Kelley

doi:10.2307/4116122

A Chinese Landscape Painting of the Sung Dynasty

Bulletin of the Art Institute of Chicago (1907-1951) ◽

10.2307/4116122 ◽

1938 ◽

Vol 32 (1) ◽

pp. 6

Author(s):

Charles Fabens Kelley

Keyword(s):

Landscape Painting ◽

Sung Dynasty ◽

Chinese Landscape Painting

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Aesthetic Appreciation of Landscape Oil Painting and Traditional Chinese Landscape Painting

Fine Art Version ◽

10.35534/fav.0203011c ◽

2020 ◽

Vol 2 (3) ◽

pp. 61-65

Author(s):

You Jiaqing

Keyword(s):

Landscape Painting ◽

Aesthetic Appreciation ◽

Oil Painting ◽

Chinese Landscape Painting

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Shitao and the Enlightening Experience of Painting

Dialogue and Universalism ◽

10.5840/du202131347 ◽

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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