Semiosphere and Solitary World

2018 ◽  
Vol 14 (4) ◽  
pp. 455-479
Author(s):  
Lian Duan
Keyword(s):  
Yuan Dynasty ◽  
Chinese Art ◽  
Landscape Painting ◽  
Conceptual Level ◽  
Central Idea ◽  
14Th Century ◽  
Formal Level ◽  
Concentric Circles ◽  
The Yuan Dynasty ◽  
Zhao Mengfu

Abstract Literati landscape painting was the mainstream of Chinese art in the Yuan dynasty; its keynote is the idea of yi, literally, escaping for freedom, which is represented by the notion of reclusiveness at the conceptual level and the notion of spontaneity at the formal level. Based on an analytical interpretation of the development of Yuan literati landscape painting at the two levels, this essay intends to make a point that, under the Mongol rule, reclusiveness and spontaneity became the artistic pursuit of Chinese artists in the period from late 13th to late 14th century. Employing Yuri Lotman’s theory of “semiosphere” in this study, I argue that the blueprint for the solitary world is designed by the early Yuan literati artist Zhao Mengfu, and this world is constructed by the later Yuan literati artists Huang Gongwang and Ni Zan, among others. I further describe the structure of this world as having two levels and three concentric circles, with reclusiveness as the signified central idea and spontaneous brushwork as its signifier. I then conclude that the interaction of the reclusive idea and spontaneous style semioticizes the structure, and completes the construction of the unique artistic world of Yuan literati landscape painting.

scholarly journals A Study of the Intercourse between Zhang Yu and Yu Ji---the Calligrapher in Yuan Dynasty

2021 ◽  
Vol 3 (2) ◽  
pp. 5
Author(s):  
Yang Song
Keyword(s):  
Song Dynasty ◽  
Yuan Dynasty ◽  
Chinese History ◽  
Artistic Style ◽  
The Status ◽  
External Causes ◽  
And Function ◽  
The Yuan Dynasty ◽  
First Time ◽  
Zhao Mengfu

In the Yuan Dynasty, the minority nationalities was entered the Central Plain for the first time in Chinese history. During this period, although the status of Chinese people and intellectuals was low, their ideological control was loose, thus forming a unique literary style. The rapid promotion of the status of the humanities such as painting, calligraphy and literature in the life of the scholars brought about a brand-new attitude towards life, especially in the late Yuan Dynasty, the humanities taste and the artistic orientation showed many new changes. And the development of literature, calligraphy and painting in the Song Dynasty, as well as the establishment of the regime in the Yuan Dynasty all accelerated this process.. Facing the setbacks brought by the Mongolian yuan rule, some intellectuals turned to create an atmosphere through some group activities of calligraphy and painting in this period, and literature and art were also given a higher status. As a famous calligrapher in the middle and late Yuan Dynasty, Zhang Yu was also an influential Taoist and poet. On the basis of studying Zhang Yu's calligraphy art, this paper analyzes his social intercourse and its influence on his calligraphy thoughts and artistic style. Especially in calligraphy, he was first taught by Zhao Mengfu, and then learned from Huaisu and Zhang Xu, forming a handsome and free style, which is very valuable. In addition, he made many friends all his life. After becoming a monk, he traveled to various famous mountains in the south of the Yangtze River and made friends with famous people. Therefore,  studying the intercourse between Zhang Yu and yu Ji can restore the real situation of the Literati's communication in the middle and late yuan dynasty, understand the multiple Zhang Yu's accomplishments of Taoism, poet and calligrapher, and better understand the relationship between Zhang Yu and Yu Ji,  It can also learn about his experience of learning calligraphy and the internal and external causes of the formation of his calligraphy style, and the influence and function of Mingxi Literati's elegant and Yuji's intercourse on the formation of his artistic style.

The Peircean order of signification and its encoding system in Chinese landscape painting

Semiotica ◽  
2018 ◽  
Vol 2018 (221) ◽  
pp. 199-218
Author(s):  
Lian Duan
Keyword(s):  
Art History ◽  
Vertical Dimension ◽  
Chinese Art ◽  
Landscape Painting ◽  
Flowing Water ◽  
Horizontal Dimension ◽  
Formal Level ◽  
Visual Order ◽  
Chinese Landscape Painting ◽  
The Way

AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.

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.

scholarly journals Identification of kinship and occupant status in Mongolian noble burials of the Yuan Dynasty through a multidisciplinary approach

2015 ◽  
Vol 370 (1660) ◽  
pp. 20130378 ◽  
Author(s):  
Yinqiu Cui ◽  
Li Song ◽  
Dong Wei ◽  
Yuhong Pang ◽  
Ning Wang ◽  
...  
Keyword(s):  
Multidisciplinary Approach ◽  
Molecular Genetic ◽  
Yuan Dynasty ◽  
Minority Ethnic Group ◽  
Chinese History ◽  
Chromosomal Dna ◽  
Molecular Genetic Data ◽  
First Dynasty ◽  
Historical Sites ◽  
The Yuan Dynasty

The Yuan Dynasty (AD 1271–1368) was the first dynasty in Chinese history where a minority ethnic group (Mongols) ruled. Few cemeteries containing Mongolian nobles have been found owing to their tradition of keeping burial grounds secret and their lack of historical records. Archaeological excavations at the Shuzhuanglou site in the Hebei province of China led to the discovery of 13 skeletons in six separate tombs. The style of the artefacts and burials indicate the cemetery occupants were Mongol nobles. However, the origin, relationships and status of the chief occupant (M1m) are unclear. To shed light on the identity of the principal occupant and resolve the kin relationships between individuals, a multidisciplinary approach was adopted, combining archaeological information, stable isotope data and molecular genetic data. Analysis of autosomal, mitochondrial and Y-chromosomal DNA show that some of the occupants were related. The available evidence strongly suggests that the principal occupant may have been the Mongol noble Korguz. Our study demonstrates the power of a multidisciplinary approach in elucidating information about the inhabitants of ancient historical sites.

Sign in / Sign up

Export Citation Format

Share Document