Analogy, Simulacrum, and Other Related Issues in Zong Bing’s “Introduction to Landscape Painting”
Resource
臺大中文學報, 24, 151-181
Journal
臺大中文學報
Journal Issue
24
Pages
151-181
Date Issued
2006-06
Date
2006-06
Author(s)
Abstract
This study deals with some of the unresolved issues surrounding Zong Bing's "Introduction to Landscape Painting" ( Hua shanshui xu ), the first treatise on landscape painting in Chinese history. Although the treatise has received tremendous attention from scholars, further investigation is required in order to reveal its meticulous structure and thereby to lay down a foundation for the study of both the treatise itself and the Chinese theo-ries of landscape painting in general. My purpose is threefold: to explore the inner logic of the treatise, to take on some of the unresolved disputes over its meaning, and finally to explicate its thesis and major ideas. My basic contentions are as follows: (l)Thematically, the main thrust of Zong Bing's discussion is neither the illustration of elements required by landscape painting, nor the indiffer-ent, purely technical analysis of the artifice; rather it lies in his penetration into the relationship between human beings and the natural landscape. It is a holistic, unifying consciousness inspired by nature, tradition and the concern for life. (2)What Zong Bing refers to as "analogy" ( lei ) or "simulacrum" ( fangxiang ) is not a technical device or pure imitation, but a mode of practi-cal thinking of the people in Wei-Jin periods. (3)To grasp the meanings of the concepts and quintessential figures discussed by Zong Bing, we need to consider the embedded idea of Tao from a perspective combining both Confucianism and Taoism.
Subjects
宗炳
畫山水序
類
仿象
Zong Bing
Hua shanshui xu
Simulacrum
Analogy
Type
journal article
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