A single raft (Studies in Science and Chinese Painting)

Author: Zhu Liangzhi
Publisher:
Publish Date: 2006-08-01
Features: Chinese painting follows a path different from that of Western painting, and we cannot rigidly apply Western concepts of painting to Chinese painting. Since the Song and Yuan dynasties, Chinese painting has developed the characteristics of "thoughtful painting" and "spiritual painting," which reached their peak during the Ming and Qing dynasties. Particularly in the concept of literati painting, painting is not merely a skillful use of materials but a tool for delighting the emotions. Through it, painters express their understanding of art, and more importantly, convey their thoughts, thinking, and even their way of life. Therefore, in aspects such as the methods of creation, the choice of subjects, the handling of brushwork, and the solidification of style, painters are influenced by their ideological concepts. To some extent, it can be said that Chinese painters, especially those after the Song and Yuan dynasties, paint with their thoughts. In subjects like cold forests, ancient pines, desolate temples, fishing and fishing, green shadows, secluded pavilions, and plum, orchid, bamboo, and chrysanthemum, there are hidden the painters' attitudes toward life and their choices of lifestyle. Therefore, tracing the profound connotations embedded in painting from an ideological perspective should be an essential approach to the study of Chinese painting. Based on this consideration, this book chooses to analyze the study of Chinese painting theory and painting creation from the perspective of Neo-Confucianism, striving to delve behind painting and seek the clear stream of Chinese thought and culture that flows within it. Chinese painting follows a path different from that of Western painting, and we cannot rigidly apply Western concepts of painting to Chinese painting. Since the Song and Yuan dynasties, Chinese painting has developed the characteristics of "thoughtful painting" and "spiritual painting," which reached their peak during the Ming and Qing dynasties. Particularly in the concept of literati painting, painting is not merely a skillful use of materials but a tool for delighting the emotions. Through it, painters express their understanding of art, and more importantly, convey their thoughts, thinking, and even their way of life. Therefore, in aspects such as the methods of creation, the choice of subjects, the handling of brushwork, and the solidification of style, painters are influenced by their ideological concepts. To some extent, it can be said that Chinese painters, especially those after the Song and Yuan dynasties, paint with their thoughts. In subjects like cold forests, ancient pines, desolate temples, fishing and fishing, green shadows, secluded pavilions, and plum, orchid, bamboo, and chrysanthemum, there are hidden the painters' attitudes toward life and their choices of lifestyle. Therefore, tracing the profound connotations embedded in painting from an ideological perspective should be an essential approach to the study of Chinese painting. Based on this consideration, this book chooses to analyze the study of Chinese painting theory and painting creation from the perspective of Neo-Confucianism, striving to delve behind painting and seek the clear stream of Chinese thought and culture that flows within it.