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The article explores the aesthetic theory of Shitao, an early Qing dynasty painter who belonged to the Individualist school of painting which advocated painting from subjective experience of life and learning from the Dao, thus following the aesthetic tradition of literati landscape painters. Shitao composed his own theory of painting and aesthetics in the work The Remarks on Painting (Huayulu 畫語錄), which was the result of his artistic practice and philosophical reflections collected throughout his life. The article delves into Shitao’s critique of the Traditionalist school of painting which prevailed in his time as the mainstream painting style, advocating imitation and repetition of the old masters. For Shitao and other Individualist painters, such an approach and attitude towards art led to creative stagnation and a departure from the aesthetic ideals of classical landscape painting. With their artistic and theoretical intervention, however, they managed to preserve, upgrade and bring to life new perspectives in artistic production and aesthetic theories. This paper presents Shitao’s defence of subjectivity as a vital catalyst for the rejuvenation of artistic perspectives and the restoration of Chinese art, thus providing an invaluable contribution to the discourse on artistic creativity and subjectivity.

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article deals with Chinese ink painting and some aesthetic notions, in particular those of xiang 象 (literally, "image/phenomenon") and shanshui 山水 (literally: "mountains-waters", i.e. landscape). Any dichotomy or tension arising from the opposition of the physical and the intelligible world, the domain of appearance and that of essence is avoided, so a new understanding of the role and meaning of the art of painting can be developed. Focusing on Shitao's Treatise on Painting (early 18th century), as a clear example and apex of the Chinese rumination on painting and calligraphy in early modernity, the implications and the relationship between landscape, art, and the ethical dimension of human experience are investigated and analyzed. [ABSTRACT FROM AUTHOR]

Ritual has an essential connection with art. This article suggests that the study on Shitao has significance in proposing a ritual theory of art for two reasons. First, textual analysis on his treatise on ink painting, Hua-pu, demonstrates that an artist is/should be involved in the interconnectedness of what he or she depicts. This involvement requires penetration into the primordial intuition towards what he or she perceives and has an ethical imperative to use the artist’s talent conferred by heaven. Second, Shitao’s artistic practice is interpreted as a form of rites that are a reaction to the sociopolitical changes during the Ming-Qing dynastic transition. The elaboration on Shitao’s identity and Hua-pu‘s relevance to Daoism will further support the argument. And it is in this sense that Shitao’s case reveals the claim that “art is ritual,” which is metaphorical as it appeals to an ideal form of art. [ABSTRACT FROM AUTHOR]

Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Il saggio svolge un’indagine sull’emergere delle prime forme di figurazione e sul legame che esse intrattengono con la nascita della concettualità umana. Tramite la storia della figura si presenta un grande bivio della storia delle civiltà, la biforcazione essenziale causata dai due grandi modi di mettere all’opera la figura: da una parte l’operazione occidentale del senso, enucleata dalle analisi di Carlo Sini, dall’altra l’espressione figurativa delle trasformazioni naturali colta dall’ideogramma orientale, che produce un alternativo universo di senso, illustrata brillantemente da Fenollosa e Jullien. Attraverso l’evocazione dell’aura dei due diversi universi figurativi si tenta di delineare un percorso genealogico che ricostruisca un’unica immagine di pensiero.