| Collection Title: | SIU Thesis | | Title : | Exploring Chinese Painting under the thought of Unity of Nature and Man | | Material Type: | printed text | | Authors: | Jing Wang, Author ; Imelda Hermillinda Abas, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name | | Publisher: | Pathumthani: Shinawatra University | | Publication Date: | 2023 | | Pagination: | x, 206 p. | | Layout: | ill. | | Size: | 30 cm. | | Price: | 1000,00 Baht. | | General note: | SIU THE: SOLA-PhD-SCS-2023-31
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023 | | Languages : | English (eng) | | Descriptors: | [LCSH]Painting, Chinese
[LCSH]Philosophy, Chinese
| | Keywords: | Chinese painting,
Chinese Philosophy,
Harmony between Nature and Man | | Abstract: | The gorgeous flower, Chinese painting study, is fostered by Chinese philosophy cultural soil. It also becomes an irresistible surge of life stream supported by Chinese philosophy spirit. As an important part of Chinese traditional culture, Chinese painting study and philosophy spirit are in complete harmony, with the same spiritual connotation and essential pursuit. Their developments, theoretical characters as well as their ideology presentation are quite consistent. Under the influence of Chinese philosophy ideas, Chinese painting study shows us an interesting picture scroll with vast and numerous masterpieces, subtle illustration, as well as infinite and deep meaning. Different from western painting in theoretic system and character, Chinese painting study has its unique style and high aesthetic and cultural values.
This article chooses Chinese painting study as its research object. From the view point of Chinese philosophy rather than the limited artistic disciplines, Chinese painting study’s artistic spirit, essential characteristics and the way to present the philosophy are analyzed. This article provides certain theoretic and practical meanings for protection, innovation and development of Chinese painting. The internal relationship between Chinese painting study and philosophy is described in the following steps:
In the first chapter, the introduction mainly expounds the research significance, research ideas and research methods of Chinese painting under the thought of the unity of nature and man, and summarizes the research framework and innovation points of this paper, as well as the overall summary of this subject. "Harmony between nature and man" is the basic spirit of Chinese philosophy, and also an important basis for the stable and orderly development of traditional Chinese society. Its essence is the harmony between man and nature. Since ancient times, China has advocated harmony between man and nature and pursued the realm of harmony between man and nature. "Unity of nature and man" is a basic belief in ancient Chinese thought history, and is also the most significant difference between Chinese philosophy and Western philosophy.In this paper, on the basis of summarizing the previous research results, mainly through the analysis and arrangement of traditional Chinese painting and contemporary landscape painting, based on the theory of fine arts, using a systematic and objective method to grasp the concept of "unity of nature and man" from the three aspects of philosophy, aesthetics and painting, the concept of "unity of nature and man" in the painting to investigate and analyze, on this basis to collect detailed information. On the basis of existing research combined with specific ancient and contemporary landscape painting works to study, analysis of the concept of "harmony between nature and man" in the artistic presentation of Chinese painting.
The second chapter is seeing from the development and evolution of Chinese philosophy and Chinese painting and basic characteristics.The relationship between Chinese philosophy and Chinses painting is close.Chinese philosophy and Chinese painting does not only "go hand in hand".Chinese philosophy constitutes the inner life and soul of Chinese painting. The development of Chinese philosophy went through several stages, such as the study of different schools of thought in pre-Qin Dynasty, the study of classics in Qin and Han Dynasties, metaphysics in Wei and Jin Dynasties, Buddhism in Sui and Tang Dynasties, theory in Song and Ming Dynasties, and simple studies in Qing Dynasty. In the process of development, the three philosophies of Confucianism, Taoism and Buddhism conflict with each other and integrate with each other in the process of development, which together constitute the main body of the development of Chinese philosophy and become the philosophical background of the development of Chinese painting.Chinese philosophy aims at pursuing the unity of nature and man, and pays attention to the mutual sense and overall harmony between heaven, man, things and myself. With the philosophy of life as the core, it pays attention to human life spirit and all kinds of life meteorology. With the overall intuition and spiritual understanding as the method, it takes how to be a man and achieve the personality of sages and improve the realm of life as the ultimate pursuit, which constitutes the characteristics of Chinese philosophy. It has also become the root of the different characteristics of Chinese painting and Western painting.In accordance with Chinese philosophy, Chinese painting has experienced different periods of development. In the pre-Qin period, painting ideas of certain value appeared. When it came down to the Six Dynasties, Gu Kaizhi's theory of Form and spirit and the theory of the Six Methods of Xie He appeared. It has formed an unique theoretical character of Chinese painting and a theoretical system completely different from that of Western painting. It has become an artistic style with deep national characteristics and spirit. It has the characteristics of "painting of the mind" and "painting of the soul". Showing rich aesthetic implication and lofty pursuit of life, it presents a unique development in the history of world painting.
The third chapter mainly discusses the influence of the life view and way of thinking of the unity of nature and man on the aesthetic direction, aesthetic theme and aesthetic sentiment of Chinese painting. The unity of nature and man is the fundamental spirit of Chinese philosophy and the philosophical cornerstone of Chinese art. The unity of nature and man aims to improve the spiritual realm and realize the unity of man and man, man and society, man and nature, which is also the ultimate life pursuit of man. The two major schools of ancient Chinese philosophy, Confucianism and Taoism, both take life and the creation of life as their fundamental concepts. The modes of the unity of nature and man constructed are the modes of life and embody the rich spirit of life.It is the basic philosophical thought and unique way of thinking of the Chinese nation of the unity of nature and man that creates the unique aesthetic realm of Chinese painting, constitutes the deep core of Chinese painting, and forms the view of life of the unity of nature and man in Chinese painting. It takes the unity of nature and man as the aesthetic direction, takes the vivid charm as the aesthetic theme, and takes the unity of knowing and doing as the aesthetic sentiment. Under the influence of the thought of the unity of nature and man, Chinese painting has become a deep learning to the spirit of human life, strong life consciousness and lofty realm of life constitute the inherent characteristics and ultimate pursuit of Chinese painting.
The fourth chapter mainly discusses the ecological aesthetic wisdom of "metaphorical virtue" and "joyful expression" in the functional theory of Chinese painting. Different from the western theory of imitation which emphasizes the cognitive function of art, "metaphorical virtue" and "joyful expression" embody the pursuit of poetic dwelling in Chinese painting theory. Metaphorical virtue is an aesthetic category based on the Confucian thought of "unity of nature and man", which reflects the closeness of human to natural virtue and the resulting sense of affinity and pleasure. In Chinese painting theory, not only landscape, plum, orchid, bamboo and chrysanthemum can be metaphorical virtue, other flowers and birds can also be metaphorical virtue. Nature is full of virtue existence, are people close to the object. The metaphorical virtue view arouses people's love for nature, and people gain moral satisfaction and transcendence of life in the contact with nature.The theory of joyful expression was first put forward by Zong Bing, and its philosophical basis is the Taoist idea of "unity of nature and man". The theory of joyful expression focuses on the real survival of human beings. Joyful expression regards nature as the home of life and longs to be integrated with nature in the intuitive view of landscape and get the shelter of nature.Joyful expression Theory also leads people to nature, but not the nature full of Confucian virtues, but the nature reflecting the way of nature. Although metaphorical virtue and joyful expression differ greatly in philosophical basis and specific connotation, they both regard nature as a living being with an internal relationship with me, and thus obtain from nature a sense of affinity, a sense of home, as well as the poetry of life.
The fifth chapter mainly studies the ecological aesthetic wisdom of "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" in the creation of Chinese painting. The aesthetic creation principle of "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" put forward by the Tang Dynasty painting theorist Zhang Bo is based on the ecological wisdom of "the unity of nature and man" in China. In Chinese culture, the universe is a natural life process, and artistic activities as human creation are no exception. They should also follow the natural path of life. "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" requires artists to learn from nature, let artworks flow from the source of the heart, and create artworks like natural creatures.Different from the western "mirror theory" and "expression theory", "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" reflects the innermost emotional relationship between man and nature. In the process of artistic creation, artists hold the attitude of equality and affinity, to swim in nature, to face nature in the true realm, and finally to integrate with nature. Artistic creation is the process of artists returning to nature. It is in the artistic creation of "unity of nature and man" that the artist finds the road to return to his hometown, returns to the living realm of free play, and obtains spiritual freedom and liberation. The artist is not so much for artistic creation as for his desire and pursuit of his origin.
The sixth chapter mainly analyzes the embodiment of the unity of nature and man in Chinese painting. The thought of the unity of nature and man in Chinese philosophy has exerted a profound influence on Chinese painting. It constitutes the deep core of Chinese painting, profoundly influences the aesthetic value orientation and artistic expression of Chinese painting, and forms the artistic spirit of the unity of nature and man, the theme of life with vivid charm, the aesthetic sentiment of the unity of knowledge and practice, and presents a lively and free life atmosphere. The aesthetic realm of man and heaven has thus become the soul of Chinese painting. On this basis, modern Chinese painting is also facing the challenge of reform and innovation. In order to better inherit and adapt to the changes of the new era, people began to appear ideological differences. One is to advertise the banner of innovation and think that tradition is the biggest obstacle to the innovation and development of Chinese painting. The second is to "move in the opposite direction", further stimulate the impetus of innovation on the basis of inheriting traditional culture, absorb the essence of western art, integrate with Chinese traditional culture, and use new artistic forms to express the unique aesthetic feeling of eastern art.
The seventh chapter concludes the inheritance and development of Chinese painting under the thought of the unity of nature and man. The two philosophical concepts of "unity of nature and man" and "separation of nature and man" are respectively the core and soul of Chinese culture and Western culture, and their differences are also the root of all the differences between Chinese and Western cultures. Because of the difference of these two philosophical ideas, Chinese and Western paintings also have great differences in artistic expression forms. Western painting has its own characteristics, and modern western painters get inspiration from Oriental painting, Western painters realize in the creation of the painting, in fact, is the "unity of nature and man" expressed in traditional Chinese painting. With the development and progress of culture, great changes have taken place in the national psychology of contemporary Chinese painting, and the attitude towards the integration of Chinese and Western painting has become positive, inclusive and confident. The differences between Chinese and Western culture are gradually narrowing, and the attitude of Chinese painters to accept Western culture and art tends to be stable and calm. In the colorful art world, we must respect the traditional national culture and keep the national character of art, so that art can have its own unique value. Only the works that treat the national traditional culture correctly and carry forward the aesthetic value and time value of the traditional culture are excellent Chinese painting works. | | Curricular : | BALA/GE/MTEIL | | Record link: | http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28659 |
SIU Thesis. Exploring Chinese Painting under the thought of Unity of Nature and Man [printed text] / Jing Wang, Author ; Imelda Hermillinda Abas, Associated Name ; Dhirawit Pinyonatthagarn, Associated Name . - [S.l.] : Pathumthani: Shinawatra University, 2023 . - x, 206 p. : ill. ; 30 cm. 1000,00 Baht. SIU THE: SOLA-PhD-SCS-2023-31
Thesis. [PhD.[Philosophy in Semiotics and Cultural Studies]]. -- Shinawatra University, 2023 Languages : English ( eng) | Descriptors: | [LCSH]Painting, Chinese
[LCSH]Philosophy, Chinese
| | Keywords: | Chinese painting,
Chinese Philosophy,
Harmony between Nature and Man | | Abstract: | The gorgeous flower, Chinese painting study, is fostered by Chinese philosophy cultural soil. It also becomes an irresistible surge of life stream supported by Chinese philosophy spirit. As an important part of Chinese traditional culture, Chinese painting study and philosophy spirit are in complete harmony, with the same spiritual connotation and essential pursuit. Their developments, theoretical characters as well as their ideology presentation are quite consistent. Under the influence of Chinese philosophy ideas, Chinese painting study shows us an interesting picture scroll with vast and numerous masterpieces, subtle illustration, as well as infinite and deep meaning. Different from western painting in theoretic system and character, Chinese painting study has its unique style and high aesthetic and cultural values.
This article chooses Chinese painting study as its research object. From the view point of Chinese philosophy rather than the limited artistic disciplines, Chinese painting study’s artistic spirit, essential characteristics and the way to present the philosophy are analyzed. This article provides certain theoretic and practical meanings for protection, innovation and development of Chinese painting. The internal relationship between Chinese painting study and philosophy is described in the following steps:
In the first chapter, the introduction mainly expounds the research significance, research ideas and research methods of Chinese painting under the thought of the unity of nature and man, and summarizes the research framework and innovation points of this paper, as well as the overall summary of this subject. "Harmony between nature and man" is the basic spirit of Chinese philosophy, and also an important basis for the stable and orderly development of traditional Chinese society. Its essence is the harmony between man and nature. Since ancient times, China has advocated harmony between man and nature and pursued the realm of harmony between man and nature. "Unity of nature and man" is a basic belief in ancient Chinese thought history, and is also the most significant difference between Chinese philosophy and Western philosophy.In this paper, on the basis of summarizing the previous research results, mainly through the analysis and arrangement of traditional Chinese painting and contemporary landscape painting, based on the theory of fine arts, using a systematic and objective method to grasp the concept of "unity of nature and man" from the three aspects of philosophy, aesthetics and painting, the concept of "unity of nature and man" in the painting to investigate and analyze, on this basis to collect detailed information. On the basis of existing research combined with specific ancient and contemporary landscape painting works to study, analysis of the concept of "harmony between nature and man" in the artistic presentation of Chinese painting.
The second chapter is seeing from the development and evolution of Chinese philosophy and Chinese painting and basic characteristics.The relationship between Chinese philosophy and Chinses painting is close.Chinese philosophy and Chinese painting does not only "go hand in hand".Chinese philosophy constitutes the inner life and soul of Chinese painting. The development of Chinese philosophy went through several stages, such as the study of different schools of thought in pre-Qin Dynasty, the study of classics in Qin and Han Dynasties, metaphysics in Wei and Jin Dynasties, Buddhism in Sui and Tang Dynasties, theory in Song and Ming Dynasties, and simple studies in Qing Dynasty. In the process of development, the three philosophies of Confucianism, Taoism and Buddhism conflict with each other and integrate with each other in the process of development, which together constitute the main body of the development of Chinese philosophy and become the philosophical background of the development of Chinese painting.Chinese philosophy aims at pursuing the unity of nature and man, and pays attention to the mutual sense and overall harmony between heaven, man, things and myself. With the philosophy of life as the core, it pays attention to human life spirit and all kinds of life meteorology. With the overall intuition and spiritual understanding as the method, it takes how to be a man and achieve the personality of sages and improve the realm of life as the ultimate pursuit, which constitutes the characteristics of Chinese philosophy. It has also become the root of the different characteristics of Chinese painting and Western painting.In accordance with Chinese philosophy, Chinese painting has experienced different periods of development. In the pre-Qin period, painting ideas of certain value appeared. When it came down to the Six Dynasties, Gu Kaizhi's theory of Form and spirit and the theory of the Six Methods of Xie He appeared. It has formed an unique theoretical character of Chinese painting and a theoretical system completely different from that of Western painting. It has become an artistic style with deep national characteristics and spirit. It has the characteristics of "painting of the mind" and "painting of the soul". Showing rich aesthetic implication and lofty pursuit of life, it presents a unique development in the history of world painting.
The third chapter mainly discusses the influence of the life view and way of thinking of the unity of nature and man on the aesthetic direction, aesthetic theme and aesthetic sentiment of Chinese painting. The unity of nature and man is the fundamental spirit of Chinese philosophy and the philosophical cornerstone of Chinese art. The unity of nature and man aims to improve the spiritual realm and realize the unity of man and man, man and society, man and nature, which is also the ultimate life pursuit of man. The two major schools of ancient Chinese philosophy, Confucianism and Taoism, both take life and the creation of life as their fundamental concepts. The modes of the unity of nature and man constructed are the modes of life and embody the rich spirit of life.It is the basic philosophical thought and unique way of thinking of the Chinese nation of the unity of nature and man that creates the unique aesthetic realm of Chinese painting, constitutes the deep core of Chinese painting, and forms the view of life of the unity of nature and man in Chinese painting. It takes the unity of nature and man as the aesthetic direction, takes the vivid charm as the aesthetic theme, and takes the unity of knowing and doing as the aesthetic sentiment. Under the influence of the thought of the unity of nature and man, Chinese painting has become a deep learning to the spirit of human life, strong life consciousness and lofty realm of life constitute the inherent characteristics and ultimate pursuit of Chinese painting.
The fourth chapter mainly discusses the ecological aesthetic wisdom of "metaphorical virtue" and "joyful expression" in the functional theory of Chinese painting. Different from the western theory of imitation which emphasizes the cognitive function of art, "metaphorical virtue" and "joyful expression" embody the pursuit of poetic dwelling in Chinese painting theory. Metaphorical virtue is an aesthetic category based on the Confucian thought of "unity of nature and man", which reflects the closeness of human to natural virtue and the resulting sense of affinity and pleasure. In Chinese painting theory, not only landscape, plum, orchid, bamboo and chrysanthemum can be metaphorical virtue, other flowers and birds can also be metaphorical virtue. Nature is full of virtue existence, are people close to the object. The metaphorical virtue view arouses people's love for nature, and people gain moral satisfaction and transcendence of life in the contact with nature.The theory of joyful expression was first put forward by Zong Bing, and its philosophical basis is the Taoist idea of "unity of nature and man". The theory of joyful expression focuses on the real survival of human beings. Joyful expression regards nature as the home of life and longs to be integrated with nature in the intuitive view of landscape and get the shelter of nature.Joyful expression Theory also leads people to nature, but not the nature full of Confucian virtues, but the nature reflecting the way of nature. Although metaphorical virtue and joyful expression differ greatly in philosophical basis and specific connotation, they both regard nature as a living being with an internal relationship with me, and thus obtain from nature a sense of affinity, a sense of home, as well as the poetry of life.
The fifth chapter mainly studies the ecological aesthetic wisdom of "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" in the creation of Chinese painting. The aesthetic creation principle of "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" put forward by the Tang Dynasty painting theorist Zhang Bo is based on the ecological wisdom of "the unity of nature and man" in China. In Chinese culture, the universe is a natural life process, and artistic activities as human creation are no exception. They should also follow the natural path of life. "Artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" requires artists to learn from nature, let artworks flow from the source of the heart, and create artworks like natural creatures.Different from the western "mirror theory" and "expression theory", "artistic creation comes from nature,and the beauty of nature comes from artists’ feeling and thoughts" reflects the innermost emotional relationship between man and nature. In the process of artistic creation, artists hold the attitude of equality and affinity, to swim in nature, to face nature in the true realm, and finally to integrate with nature. Artistic creation is the process of artists returning to nature. It is in the artistic creation of "unity of nature and man" that the artist finds the road to return to his hometown, returns to the living realm of free play, and obtains spiritual freedom and liberation. The artist is not so much for artistic creation as for his desire and pursuit of his origin.
The sixth chapter mainly analyzes the embodiment of the unity of nature and man in Chinese painting. The thought of the unity of nature and man in Chinese philosophy has exerted a profound influence on Chinese painting. It constitutes the deep core of Chinese painting, profoundly influences the aesthetic value orientation and artistic expression of Chinese painting, and forms the artistic spirit of the unity of nature and man, the theme of life with vivid charm, the aesthetic sentiment of the unity of knowledge and practice, and presents a lively and free life atmosphere. The aesthetic realm of man and heaven has thus become the soul of Chinese painting. On this basis, modern Chinese painting is also facing the challenge of reform and innovation. In order to better inherit and adapt to the changes of the new era, people began to appear ideological differences. One is to advertise the banner of innovation and think that tradition is the biggest obstacle to the innovation and development of Chinese painting. The second is to "move in the opposite direction", further stimulate the impetus of innovation on the basis of inheriting traditional culture, absorb the essence of western art, integrate with Chinese traditional culture, and use new artistic forms to express the unique aesthetic feeling of eastern art.
The seventh chapter concludes the inheritance and development of Chinese painting under the thought of the unity of nature and man. The two philosophical concepts of "unity of nature and man" and "separation of nature and man" are respectively the core and soul of Chinese culture and Western culture, and their differences are also the root of all the differences between Chinese and Western cultures. Because of the difference of these two philosophical ideas, Chinese and Western paintings also have great differences in artistic expression forms. Western painting has its own characteristics, and modern western painters get inspiration from Oriental painting, Western painters realize in the creation of the painting, in fact, is the "unity of nature and man" expressed in traditional Chinese painting. With the development and progress of culture, great changes have taken place in the national psychology of contemporary Chinese painting, and the attitude towards the integration of Chinese and Western painting has become positive, inclusive and confident. The differences between Chinese and Western culture are gradually narrowing, and the attitude of Chinese painters to accept Western culture and art tends to be stable and calm. In the colorful art world, we must respect the traditional national culture and keep the national character of art, so that art can have its own unique value. Only the works that treat the national traditional culture correctly and carry forward the aesthetic value and time value of the traditional culture are excellent Chinese painting works. | | Curricular : | BALA/GE/MTEIL | | Record link: | http://libsearch.siu.ac.th/siu/opac_css/index.php?lvl=notice_display&id=28659 |
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