Download pdf
Recognizing the Impact of Daoism on Song Dynasty’s Landscape Painting
- 1 Union College, 807 Union St, Schenectady, NY, 12308, U.S.A.
* Author to whom correspondence should be addressed.
Abstract
Daoism, as one of the major Chinese ideologies in Chinese history, devoted in finding the way to build harmony between society and nature. This paper investigates Daoism’s impact to Song Dynasty Landscape paintings. The paper is going to compare two representative Song Dynasty landscape paintings, and combining the Daoism’s classic Laozi and other documents to analyze Daoism’s ideology’s impact to Song Dynasty Landscape paintings and its painting skills. By determining the Taoism’s influence to the Song Dynasty’s landscape paintings, it can help us to understand the influence of religious culture and philosophical thought on artistic artifacts in ancient China, and in turn, to some extent, the influence of recent iterations of Chinese thought on art and even literature. As a result, we find that Daoism has significant and imperceptibly impact in forming the Song Landscape painting style, this could be seen as an example of determine the philosophical ideology impact to the art in ancient China, and might been used as an analogy to examplify the impact of religion and philosophical ideology to modern Chinese arts and literature.
Keywords
Daoism, Song Dynasty Landscape painting, Mi Style, Level Distance, Mi youren, Cloudy Mountains
[1]. Ames, T. Roger,and David L.Hall, trans. Daodejing, Making this life significant, A Philosophical Translation.New York: Ballantine Books Press, 2010. Accessed https://bookshelf.vitalsource.com/reader/books/9780307755308/epubcfi/6/24%5B%3B vnd.vst.idref%3Dc05%5D!/4/378/18/3:0%5B%2C%5E.
[2]. Fan Kuan,Travelers Among Mountains and Streams, inks and colours on silk, National Palace Museum. Accessed September 18, 2022.
[3]. Foong, Ping. “Guo Xi’s Intimate Landscapes and the Case of ‘Old Trees, Level Distance’ in Metropolitan Museum Journal, 2000,Vol.35(2000).87- 115.
[4]. Guo Xi , Old Trees, Level Distance Handscroll, ink and light color on silk, 35.9 x 104.8 cm. The Metropolitan Museum of Art, Gift of John
[5]. Guo Si , Lin quan gao zhi ji, Zhonghua Book Company Press, 2010. Accessed September 18, 2022.
[6]. Mi Youren, Cloudy Mountains, ink and light color on silk，21.4 * 105.5cm, Beijing Palace Museum. Accessed September 18, 2022.
[7]. Wen, Fang. Xinyin, images of the Mind. Li weikun, eds. Shanghai: Shanxi Renming Meishu publication Press, 2016.
[8]. Yu Zicai, and Zhou Yanggao, Shan Shui Hua Cun Fa Shi Yao. Shanghai Painting and Calligraphy Publishing House Press, 1989. 58-65.
[9]. Zhong shu, Dong.”Heaven, Earth, and Man” in Chinese Civilization, A Sourcebook. Partricia Buckley Ebrey, eds. New York: The free press,1981.57-59.
Cite this article
Chao,Y. (2023). Recognizing the Impact of Daoism on Song Dynasty’s Landscape Painting. Communications in Humanities Research,4,662-667.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the International Conference on Interdisciplinary Humanities and Communication Studies (ICIHCS 2022), Part 2
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).