scholarly journals Metaphysics of Nature: art-critic analysis of Chinese paysage painting by T. Burckhardt

2017 ◽  
Author(s):  
И.В. Фотиева ◽  
М.Ю. Шишин
Keyword(s):  
Chinese Painting ◽  
Landscape Painting ◽  
The West ◽  
Sacred Art ◽  
Chinese Landscape Painting

Статья посвящена наследию еще недостаточно известного в России  философа, культуролога, искусствоведа Титуса Буркхардта. Дается обзор раздела одной из его ведущих работ «Сакральное искусство Востока и Запада. Принципы и методы», посвященного пейзажной китайской живописи. Отмечается точность и глубина проводимого Буркхардтом анализа как художественно-выразительных средств, так и философско-метафизических основ китайской пейзажной живописи, а также ее отличия от близких европейских течений. The article is devoted to the heritage of the philosopher, culturologist, art critic Titus Burkhardt, who is still not well known in Russia. The authors give an overview of the section of one of his leading works "Sacred art of the East and the West. Principles and methods", dedicated to landscape Chinese painting note the accuracy and depth of the analysis conducted by Burkhardt, both artistic expressive means, and the philosophical and metaphysical foundations of Chinese landscape painting, as well as its differences from close European art currents.

The endgame, and the Qing eclipse1

2020 ◽  
Vol 6 (1-2) ◽  
pp. 23-48
Author(s):  
James Elkins
Keyword(s):  
Art History ◽  
Chinese Painting ◽  
Landscape Painting ◽  
The West ◽  
Unusual Structure ◽  
Western Art ◽  
History Of ◽  
Contemporary Painting ◽  
Chinese Landscape Painting

Presented as an archival text for the Journal of Contemporary Painting, James Elkins’ ‘The endgame, and the Qing eclipse’ is an abridged version of the the final chapter of a book-length study, Chinese Landscape Painting as Western Art History (Hong Kong University Press, 2010). Elkins demonstrates the unusual structure of the history of Chinese painting, whereby the Ming decline and Qing eclipse have no real parallels in the West. Yet, as a counter-hypothesis, he argues that Late Ming and Qing artists appear to art history as a form of postmodernism. In itself, this represents a nuanced reading of the temporalities of modern and postmodern periods (which challenges comparative approaches and indeed the fundamental structures of western art history). Crucially, the account provides ways of thinking about how Chinese landscape painting is viewed through the lens of art history, a discipline that Elkins claims is partly, but finally and decisively, western.

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.

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.

The Synthesis of Rock Textures in Chinese Landscape Painting

2001 ◽  
Vol 20 (3) ◽  
pp. 123-131 ◽  
Author(s):  
Der-Lor Way ◽  
Zen-Chung Shih
Keyword(s):  
Landscape Painting ◽  
Chinese Landscape Painting

Early Chinese Landscape Painting

1941 ◽  
Vol 23 (2) ◽  
pp. 141-164 ◽  
Author(s):  
Alexander C. Soper
Keyword(s):  
Landscape Painting ◽  
Chinese Landscape Painting
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