The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese ...aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.
Članek obravnava Xu Fuguanovo analizo in interpretacijo koncepta qiyun shengdong 气韵 生动, ki velja za enega od najpomembnejših, najbolj temeljnih in hkrati najtežje dojemljivih konceptov v kitajski ...estetiki in umetnosti. Nastal je v obdobju Wei Jin (220–420 n. št.), ki je eno od najbolj ustvarjalnih in prelomnih obdobij na področju kitajske estetike in umetnosti. Njegova kompleksnost se izraža tako v literarnih delih, slikarstvu, kaligrafiji in glasbi, kot tudi v literarni teoriji ter teoriji slikarstva, pri čemer se qi nanaša na zunanje značilnosti umetniškega dela, medtem ko izraža yun notranje značilnosti, ki so del človeške notranjosti oziroma človeškega duha, medtem ko shengdong pomeni manifestacijo, delovanje in zlitje obeh konceptov v umetniškem delu.Avtorica najprej predstavi Xu Fuguanovo interpretacijo in jo prikaže v kontekstu sodobnih debat o kitajski estetiki. V nadaljevanju se osredotoči na njegovo filološko in historično analizo semantičnega ter filozofskega razvoja obravnavanega koncepta in na koncu poda kritično evalvacijo njegove študije v kontekstu ponovnega ovrednotenja osnov klasične kitajske estetike.
The article explores Xu Fuguan’s analysis and interpretation of the concept of qiyun shengdong 氣韻生動, which is considered to be one of the most important, fundamental and complex concepts in Chinese ...aesthetics and art. It was created by Xie He in the Wei Jin period (220–420 AD), which is marked as a turning point in the development of Chinese aesthetics. The complexity of the concept of qiyun shengdong is reflected in literary works, painting, calligraphy, and music, as well as in literary theory and the theory of painting. According to Xu Fuguan, qi refers to the external features of the artwork, while yun expresses the internal characteristics that are a matter of the human spirit. For Xu, shengdong signifies the manifestation and fusion of qi and yun in the artwork. Xu Fuguan claimed that the profound comprehension of this concept is fundamental for understanding the essence of Chinese art. The article also addresses the problem of translating this aesthetic concept into English and discusses the problem of its authenticity.
This article engages with the notion of an aesthetic “chiasma” developed by the Japanese philosopher Imamichi Tomonobu in the 1960s. According to Imamichi, the nineteenth century saw an inversion of ...basic ideas associated with the artistic traditions of East and West. While in the East, the earlier dominance of expression was replaced by an emphasis on the importance of representation, for the West, the idea of mimesis-representation was superseded by a focus on expression. Imamichi’s argument remain influential.
Drawing on a series of philologically relevant reflections by several generations of scholars and artists, from Watanabe Kazan to Hashimoto Kansetsu, and situating them in relation to their Western and Chinese counterparts, this article clarifies the developments which occurred and the conflicts which emerged over the course of this interaction. In doing so, it demonstrates that Imamichi’s notion of chiasma remains too restricted to capture the degree of exchange between the Eastern and Western aesthetic ideals taking place in modern Japan. The article concludes that Imamichi’s chiasma was made possible by the awkward mapping of a pair of fundamental dualities associated with Eastern and Western thought onto one another, in a manner which reveals more about the geopolitical imperatives of the 1960s than the process of intellectual exchange itself.
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Qiyun shengdong气韵生动, the first of the six canons of painting (Lu Fa六法) laid down by Hsieh Ho in the late fifth century, had been made known to the Western art criticism in the early twentieth century ...and has aroused great enthusiasm ever since. By examining the 19 translations of Qiyun shengdong by different Western art critics, this paper endeavours to delineate the reception and dissemination of this classic Chinese aesthetic notion in the West and analyse how it had contributed to the development of the modernist critical theory, of both painting and literature, especially the discussion of artistic rhythm and vitality.
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본 연구의 목적은 조형예술의 창작 원칙이자 중국 회화의 품평(品評) 기준인 사혁(謝赫)의 육법론(六法論)을 활용하여 왕슈(王澍) 건축가의 건축 작품을 분석하고, 이를 통해 서양의 건축 양식과 창작 방식에서 벗어나 미학적 관점에서 건축 작품을 분석하고 평가하는 새로운 방법론을 제기하는 것이다. 연구 대상은 2000년대에 중국 강남 지역의 항주와 영파를 ...중심으로 2012년 건축계의 노벨상이라 불리는 프리츠커상을 수상한 중국의 건축가 왕슈(王澍)가 설계한 작품 중 왕슈(王澍) 건축가의 건축관이 잘 구현된 대표작품 4곳으로 한정하였다. 연구의 방법은 다음과 같다. 첫째, 이론적 고찰을 통해 사혁(謝赫)의 육법론(六法論)에 대해 알아보고 육법론(六法論)의 특성을 도출한다. 둘째, 육법론(六法論)과 건축의 연관성에 대해 알아보고, 육법론(六法論)의 특성을 기반으로 분석의 틀을 도출한다. 셋째, 왕슈(王澍)의 건축 작품을 분석하고, 그 결과를 토대로 건축 작품을 분석하고 평가하는 새로운 방법론을 제기한다. 육법론(六法論)의 특성에 따라 왕슈(王澍)의 작품을 분석한 결과를 기반으로 사혁(謝赫)의 육법론(六法論)을 미학적 관점에서 건축 작품을 분석하고 평가하는 새로운 방법론으로 다음과 같이 제기한다. 첫째, 건축설계과정에서 전이모사(傳移摸寫)는 우수한 작품이나 전통적인 건축의 형태를 모방하여 설계하는 것이 아니라, 그 내면에 내포된 작가의 정신이나 전통적인 특성과 고유의 문화에 대해 고뇌하고 그것을 전승(傳承)하여 자신의 방식으로 독창적인 작품을 창조해내는 것이다. 둘째, 건축 설계과정에서 경영위치(經營位置)는 물체를 적절하게 배치하고, 건축물 자체의 아름다움뿐만 아니라 건축물과 주변 환경의 조화를 중시하여야 하며, 더 나아가 건축물과 자연환경과의 조화와 자연생태계의 파손에 대하여 고뇌해야하는 것이다. 셋째, 사혁(謝赫)이 제기한 최고의 품평인 기운생동(氣韻生動)에 도달하려면, 건축 설계과정에서 작품 겉으로 드러내는 형(形)의 아름다움뿐만 아니라 형신겸비(形神兼備) 즉, 정신과, 형태를 모두 갖추어야 하며, 마치 하나의 독립적인 생명을 지닌 자연산물처럼 생동하게 표현되어야 한다.
The purpose of this study is to analyze the architectural works of Wang Shu architects using the Theory of the Six Principles of Xie He, the creative principle of formative art and the standard of Chinese painting, and to raise a new methodology to analyze and evaluate architectural works from an aesthetic perspective. The subjects of the study were limited to four representative works designed by Chinese architect Wang Shu, who won the 2012 Nobel Prize in Architecture, centering on Hangzhou and Ningbo in Jiangnan, China. The research method is as follows. First, through theoretical consideration, we examine the Theory of Six Principles of Xie He and derive the characteristics of the Theory of Six Principles. Second, the relationship between the Theory of Six Principles and architecture is investigated, and the framework of analysis is derived based on the characteristics of the Theory of Six Principles. Third, it raises a new methodology for analyzing Wang Shu's architectural works and analyzing and evaluating architectural works based on the results. Based on the results of the analysis of Wang Xu's Architecture according to the characteristics of Theory of Six Principles, The Theory of Six Principles of XieHe was raised as a new methodology for analyzing and evaluating architectural. In the architectural design process, Chuanyi Moxie is not designed by imitating excellent works or traditional architecture, but by agonizing over the artist's spirit, traditional characteristics, and unique culture contained inside and transmitting them to create original works in his or her own way. The Jingying Weizhi should properly arrange objects, value not only the beauty of the building itself, but also the harmony between the building and the surrounding environment, and furthermore, agonize over the harmony between the building and the natural environment and damage to the natural ecosystem. And to reach the highest level of Qiyun Shengdong by Xie He, In the process of architectural design, not only the beauty of the shape revealed on the outside of the work, but also the spirit and form must be equipped, and must be expressed vividly as a natural product with an independent life.
The British understanding of Chinese painting owed much to Laurence Binyon (1869-1943) who enriched the British Museum’s collections of Oriental painting, and for almost forty years, published widely ...and delivered lectures in Britain and abroad. Binyon’s legacy is to be found in several archival resources scattered in Britain, America, Japan and China. This dissertation is a study of the reception of Chinese painting in early twentieth century Britain, and examines Binyon’s contribution to its appreciation and criticism in the West. By examining the William Anderson collection of Japanese and Chinese paintings (1881), I illuminate Anderson’s way of seeing Chinese pictorial art and his influence on Binyon’s early study of Oriental painting. I argue that the early scroll, The Admonitions of the Court Instructress, which Binyon encountered in 1903, ignited his interest in the study of traditional Chinese painting, yet his conception of Chinese pictorial art was influenced by Japanese and Western expertise. To reveal the British taste and growing interest in Chinese painting around 1910, Binyon’s involvements in major acquisitions and exhibitions of Chinese paintings at the British Museum, including the Sir Aurel Stein collection (1909) and the Frau Olga-Julia Wegener collection (1910), as well as his visits to Western collections of Chinese art in America and Germany, will be investigated. In order to understand the relevance and values of Chinese painting for the development of early twentieth-century British art, I also scrutinize how the principle of “rhythmic vitality” or qiyun shengdong, as well as the Daoist-and Zen-inspired aesthetic ideas were assiduously promoted in Binyon’s writings on Chinese painting, and how Chinese art and thought kindled British modernists to fuse art with life in order to re-vitalize the spirit of modern European art with non-scientific conceptions.
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