Image of the mountain in the Chinese landscape painting Shan Shui in terms of concepts of Dao philosophy and “spatial art”
Abstract
This article is devoted to the consideration of the features of Chinese landscape painting shan shui (“mountains and water”) in its connection with the philosophical and aesthetic aspects of Tao and the concept of “spatial art” put forward by the modern art critic D. Summers. Through the prism of the dialectical concepts of “real space” and “virtual space” in the work, the image of the mountain is multidimensional, which, along with other images, is a constant, the central element in traditional Chinese shan shui painting. Using various paintings by artists as examples, the article reveals the unique status of the mountain, which has sacred significance for ancient Chinese authors. At the same time, the image of mountain landscapes in the works of painters goes beyond both religious and geographical boundaries, reflecting the idea of spiritual understanding of the transcendent. The image of the mountain becomes a kind of portal leading to the “virtual space” of Tao. The research materials allow us to draw new angles in the study of the spiritual and philosophical aspects of shan shui, one of the main genres of landscape painting in the Middle Kingdom.
About the Author
Li Xiaopei
Kryachkov Novosibirsk State University of Architecture, Design and Arts; Wanjiang College of Anhui Normal University
Russian Federation
Russian Federation
Li Xiaopei, 1nd year postgraduate student; Lecturer
630099, Novosibirsk
Wuhu, 230093, China
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Review
For citations:
Xiaopei L. Image of the mountain in the Chinese landscape painting Shan Shui in terms of concepts of Dao philosophy and “spatial art”. ARTE. 2022;(3):74-81. (In Russ.)
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