Compare and contrast a classical Chinese landscape and a western figurative painting
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The aesthetic basis of the Chinese fine art is deeply affected by the philosophy of Chinese Buddhism and Taoist and Confucian ideas. Chinese landscape painting was born in the Eastern Jin Dynasty (317-420), which is also the flourishing period of the Taosim thought. The central belief of Taoism is mentalism. As a result, the aesthetic basis of Chinese landscape painting is manifestation rather than reappearance. Shaw (1988, p.183) mentioned the impact of Chinese tradition philosophy on landscape paintings in his article. He stated that:
“The landscape painting tradition has long been admired as one of the greatest cultural achievements of the Chinese people. The remarkable landscapes of the Sung Period (960-1127 A.D.) and thereafter inspire awe and fascination with the cultural genius that produced them. It is generally assumed that these masterpieces are the result of a cross-fertilization of Buddhism and Taoism on Chinese soil, a hybridization that flourished in the fabulous mountain scenery of the Middle Kingdom. Beyond the assumption that such paintings embody both Buddhist and Taoist ideals, little attention has been given to documenting the developments that let to this world-admired genre. What abounds instead are aphoristic assertions of “the Taoist love of nature” or of “broad, misty vistas expressing the Buddhist principle of emptiness.”
“The landscape painting tradition has long been admired as one of the greatest cultural achievements of the Chinese people. The remarkable landscapes of the Sung Period (960-1127 A.D.) and thereafter inspire awe and fascination with the cultural genius that produced them. It is generally assumed that these masterpieces are the result of a cross-fertilization of Buddhism and Taoism on Chinese soil, a hybridization that flourished in the fabulous mountain scenery of the Middle Kingdom. Beyond the assumption that such paintings embody both Buddhist and Taoist ideals, little attention has been given to documenting the developments that let to this world-admired genre. What abounds instead are aphoristic assertions of “the Taoist love of nature” or of “broad, misty vistas expressing the Buddhist principle of emptiness.”
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