Reason and Nature-- The Landscape Painting Embodiment of Taoist Morality

DOI

10.2991/assehr.k.210617.074How to use a DOI?

Keywords

landscape painting, Taoism, morality, painting

Abstract

Chinese landscape painting takes pen-and-ink texturing method as the main formal language, uses different landscape symbols as the way and carrier to express its unique aesthetic interest, and often resides in the unique moral idea of Taoism in the process of painting creation. it makes landscape painting tend to aesthetic function in painting function, incline landscape painting to natural beauty in aesthetic concept, and advocate the speculative nature of painting theory in formal language. In the aesthetics of painting, it is emphasized that landscape painting embodies the spirit of human nature and life. This paper takes the Taoist moral concept as the origin of painting, and combined with the representative work “Journey through Brooks and Mountains” by Fan Kuan (950-1032) in the Northern Song Dynasty, this paper analyzes its theoretical background, formal language, symbolic content and comparison in the history of landscape painting, and explores the Taoist moral concept hidden in the picture narrative of landscape painting and its aesthetic taste from the dimension of Taoist thought.

Copyright

© 2021, the Authors. Published by Atlantis Press.

Open Access

This is an open access article distributed under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/).

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TY  - CONF
AU  - Jiang Runyu
PY  - 2021
DA  - 2021/06/20
TI  - Reason and Nature-- The Landscape Painting Embodiment of Taoist Morality
BT  - Proceedings of the 2021 2nd International Conference on Mental Health and Humanities Education (ICMHHE 2021）
PB  - Atlantis Press
SP  - 252
EP  - 255
SN  - 2352-5398
UR  - https://doi.org/10.2991/assehr.k.210617.074
DO  - 10.2991/assehr.k.210617.074
ID  - Runyu2021
ER  -