美术山水画外文翻译作为社会与宇宙秩序观念的中国山水画文档格式.docx

美术山水画外文翻译作为社会与宇宙秩序观念的中国山水画文档格式.docx

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TheStructurist

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ESTHERJACOBSON-LEONGisAssociateProfessorofArtHistoryattheUniversityofOregonatEugene.HerresearchinterestscentertheChineseperceptionoflandscape,asrevealedthroughtheirart.andonEurasiannomadicart.

InthehistoryofChineselandscapepainting.TheT’angdynasty（630-906）andtheNorthernSungdynasty（960-1127）haveaparticularsignificance:

itwasduringtheT'

angthattherefirstemergedtheindicationsofamaturingconsciousnessoflandscape;

anditwasduringtheNorthernSungthattheseindicationsreachedfullflowering.ThevisionofnatureinthisearlyperiodofChineselandscapepaintingwasthatofaworldinharmony.Inthecontextofmountains,rivers,treesandmist,theinhabitantsofthesepaintingsappeartoexistwithaneasewhichsuggeststhatthey,too,participateintheharmonyofnature,SuchisthegeneralunderstandingofT'

angandSunglandscapepainting:

anditis,atleastinpart,correct,ButtheearlyChinesevisionofnatureandofman'

splaceintheuniverseismorecomplexandprofound.ByconsideringthewritingsoftwomajortheoristsofearlyChinesepainting,ChangYen-yuan（act.mid-ninthc.）andKuoHsi（act,lattereleventhcentury）,wemaydeepenourunderstandingofthatvision.

Nowpaintingisathingwhichperfectsthecivilizingteachings[oftheSages]andhelps[tomaintain]thesocialrelationships.Itpenetratescompletelythedivinepermutations[ofNature]andfathomsreconditeandsubtlethings...ItproceedsfromNatureitselfandnotfrom[human]invention.

WiththeseassertionsChangYen-yuan,artcriticandconnoisseur,beganhisRecordoftheFamousPaintersofAlltheDynasties（Litaiminghuachi）,completedin847A.D.WecannotbecertainthatChangwasspeakingforhisageinmakingtheabovestatements.But,toourknowledge,nomajorcriticcontemporarywithorlaterthatChangeverdirectlytookexceptiontohisintroductorycomments.WemaythereforetakeChang'

sessayasourwindowontopaintingoftheT'

angdynasty（630-906）anditsroleintheshapingofhumanimagination.

AccordingtoChang,paintingwasagiftfromNature,inorderthatmenmightrevealbothgoodandevil.Throughtherevelationsofpaintingmencouldlearntheshapeofnegativeinfluences,theappearanceofrightconductandthepositivepowerofvirtue.Bygivingformtolessonsofhistory,paintingsware"

thegreattreasuressymbolizingEmpire...thestrandandleadingropeswhichcanregulatedisorders.’FormenoftheT'

ang,suchasChang,realityincludednotonlyhumansandthematerialhumanrealm,butalsodragons,goblinsandspiritsbothgoodandevil.Theroleoftheartisticimaginationwastogiveshapetovisibleandinvisibleformswhichexistabsolutely,withoutdependenceonindividualvision.Paintingwasthereforepractical:

itconferredontheviewerknowledgeandthemagicalcontroloverdangerousinfluenceswhichknowledgeaffords.Butaboveallpaintingwasdidactic:

withinthecontextofaConfucianviewofsocietybasedonmorality,hierarchy,andorder,theartist'

sresponsibilitywasnottoelaborateonwhatmightbe,ortosharehispersonaltears,hopes,joys,andsorrowswiththeviewer-indeed,Changdidnotevenrecognizethisasapossibility-butrathertore-affirmthewisdomandmoralityoftheages.Giventheseassumptions,itisnotsurprisingthatChanginsistedthatonlyeducated,"

lofty-mindedmen"

ofgoodfamilycouldexcelinpainting.'

ReadingChang'

sessay,oneisstruckbytheextenttowhichhewasconcernedwiththeindividualconcreteobjectratherthatwithaunifiedpictorialcontextoutofwhichobjectscouldemerge.Forexample,oftheT'

angpainterWeiWu-t'

ien.ChangnotedthatWu"

excelledatsaddlehorses,likenessesoffalconsandpicturesofeagles,”onlyinspeakingoflandscapepaintersdidChangconsiderobjectsembeddedinalargercontext.OftheT'

angpainter,LiSsu-hsun,hewrote:

Inhispaintingsofmountainsandwaters.Treesandrocks,hisbrush-characterwasfirmandstrong.Rushingrapidsdash,intorrents.Cloudsandmistareherethick,therethinsothatattimesoneseesthedoingsofthegodsandimmortals,mysteriousamongtherecessesofthecliffsandsummits.

ThescantyremainsofT’angpaintingindicatethatartists,also,sawtheworldintermsofindividual,stronglydefinedobjects,sometimesplacedagainstaplainbackgroundorsometimesarrangedintoprop-likesettingsforhumanactivity.InaSungdynastycopyofaT’angpaintingassociatedwithLiSsu-hsun,forexample,spaceisdividedintothreepartshorizontallyandvertically;

withinthatspace,objectsstandoutwithaclarityandstrengthofbrushstrokewhichdeniesatmosphericperspective（Fig.1）

Despitehisassumptionthattheforceofpaintinglayinitsrepresentationofmorallessons,Changappearstohavebelievedthataslongasapaintingdidnotglorifyevil,onesubjectwasnobetterthananother.Allobjectsmaynotbeofequaldidacticvalue,buteachhasvalueasaconcretething.Inonepartofhisessay,however,Changofferedsomecluesabouthisownpreferencesforsubjectsworthyofpainting;

Withregardtoterracesandpavilions,treesandrocks,carriagesandpalanquins,andutensilsandobjectsingeneral,thereisnothingaboutthemwhichlife-movementcouldseektoembody,andnothingwhichspirit-resonancemightstrivetoequal[Suchsubjects]onlyrequire[proper]placingandalignmentandthatisenough.AsKuK’aichihoncesaid,“Manisthemostdifficultsubjecttopaint,thenlandscapesandthendogsandhorses.Asforterracesandpavilions,theyarenothingbutfixedobjectsandpavilions,theyarenothingbutfixedobjectsandarecomparativelyeasytodo.Thesewordsfullyexpress[theidea]

Despitehisinitialstatementregardingtreesandrocks,ChangproceededtosuggestthroughhisquotationofKuthatlandscapeshaveakindofvitalitywhichdistinguishesthemfrom“fixedobjects”.SincenowhereelsedidChangclarifythisapparentconfusion,wemightconcludethat,forChang,theindividualobjectsofnature,beingincapableofrecordingthedeedsofhistoryorrevealinginfluencesbothgoodandevil,werelesssignificantsubjectsforpaintingthanhumans,godsandsomeanimals.Buthedidnotexcludethemfromthegroupofobjectsworthyofrepresenting.Indeed,Chang’sattitudeseemstohavebeenthattheartist,liketherovingeyeofacamera,shouldrecordtheworldasheseesit.SincefromChang’sConfucianpointofview,thegoodandvirtuouswillultimatelytriumphandevilwillberevealed,lessonsregardingmoralityinrealityitself.

AbouttwohundredyearsafterChangYen-yuancompletedhisRecord,aNorthernSungdynastyscholar,KuoJo-hsu（lateeleventhcentury）,compiledthelessons,ofhisfather,thegreatpainterKuoHsi,intooneofthemostimportantChinesetreatisesonpainting,theEssayonLandscapePainting（Linch’uankaochih）,TheopeningwordsofKuoHis’sEssayestablishthetoneofthetreatise,indicatingthematurationofChinesepaintingsincetheageofChangYen-yuan,whilereaffirmingtheconnectionbetweenvirtueandaestheticexperience:

Whydoesavirtuousmantakedelightinlandscapes?

Itisforthesereasons:

thatamidthecarefreeplayofstreamsandrocks,hemaytakedelight;

thathemayconstantlymeetinthecountryfishermen,woodcutters,andhermitsandseethesoaringofthecranes,andhearthecryingofthemonkeys.Thedinofthedustyworldandthelocked-in-nessofhumanhabitationsarewhathumannaturehabituallyabhors;

while,onthecontrary,haze,mist,andthehauntingspritsofthemountainsarewhathumannatureseeksandyetcanrarelyfind…

KuoHsi'

sessaybeginswithafocusonthemanofvirtueandsensitivity:

educatedenoughtoservehisgovernment.Confucianenoughtofeelthathisabilitiesandtheneedsofhisemperorconstrainhimtoliveinthe"

dustyworld."

Tosuchaperson,landscapepaintingsgrantrespitetothespiritwhilenourishingvirtue,ButwhileChangYen-yuanassertedthataestheticappreciationspringsfromaperceptionofthemoralityofathingoraction,KuoHsiemphasizedtheexperienceofpurepleasure.unboundbyconstantremindersofspecificmoralprinciples.

ImplicitinKuoHsi'

sessayisthebeliefthattheunder-lyingpowerofpaintingisNatureitself.Painting,throughtheartist'

svision,isthemeansbywhichtheorderandlovelinessofthenaturalworldisrevealed.WhileimplicitlyagreeingwithChangYen-yuanthattherootofpaintingisthenaturalworld,KuoHsidiscussedpaintingonlyintermsoflandscape,ThisdistinctionbetweentheapproachesofthetwocriticsreflectsthetactthatbytheNorthernSung,landscapepaintinghadbecomesoimportantthatrepresentationsofbirds,animalsandhumanswereregularlysetintoanaturalsettingratherthan,inT'

angfashion,againstaplainbackground.

MostofKuoHsi'

sessayisconcernedwiththeproblemsandtechniquesofpaintinglandscape,buthiscommentsthroughoutareinformedbytwoconvictions:

thattheartistmust“identifyhimselfwiththelandscapeandwatchituntilitssignificanceisrevealedtohim"

;

andthattheaccuraterenditionofanindividualobjectrevealsthemulti-dimensionalbeautyofanextendedrealm:

Themountainsinthenorth-westernpartofthecountryarerichandmassive,notbecauseheavenandeartharepartialtothem,butbecausethelandinthatsectionisveryhigh.Theriverwindandswellamonghillsandbanks,diggingintotheearth;

thesoilisthickandthewaterdeep.Themountainspiledwithrolling,squattingmoundsstretchforththousandsofmilesinunbrokenlines…

Theartistre