Chinese landscape painting technique based on Taoist philosophy exhibit application

2019 ◽  
Vol 16 (2) ◽  
pp. 31-44
Author(s):  
Jie Xuan ◽  
Namhyo Kim
Keyword(s):  
Landscape Painting ◽  
Painting Technique ◽  
Taoist Philosophy ◽  
Chinese Landscape Painting

scholarly journals Bodily Contemplation: On the Question of the Truth of the Perception of Physical Objects in Chinese Landscape Painting

2021 ◽  
Vol 25 (2) ◽  
pp. 298-310
Author(s):  
Yiqun Wang
Keyword(s):  
The Body ◽  
Landscape Painting ◽  
Artistic Style ◽  
The Subject ◽  
Taoist Philosophy ◽  
Physical Objects ◽  
The Individual ◽  
The Ancient Chinese ◽  
Spiritual Work ◽  
Chinese Landscape Painting

This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.

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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