Essence in what is not seen, nor said
By Rosalind: East Asia Correspondent
Chinese brush paintings captivate viewers with their overt spontaneity and apparent lack of organization. For those accustomed to Western aesthetics, Chinese painting can seem strange and incomprehensible.
Unlike the prevalent realistic style in Western art, Chinese brush paintings prioritize evoking the spirit rather than replicating the physical world. However, labeling Chinese brush painting as an endeavor to construct a fictional realm overlooks the essence of Chinese aesthetics, which is firmly grounded in their unique perception of reality.
These paintings embrace a long-established Taoist view of reality that exalts the ultimate union of man and heaven. As a result, the human world is not trapped in a dual nature, existing independently as physical and spiritual beings.
However, spirituality is inextricably linked to bodily. The image of an external object, in fact, represents an ongoing and dynamic interaction between the human mind and the natural world. Instead of simulating tangible items.
In line with the principles of Buddhism, the Chinese perspective on reality encompasses the concept of ‘void’ – a profound emptiness that permeates the intrinsic nature of all things. In other words, there is no ultimate entity to the apparent universe. Contrary to popular belief, the void is not simply nothingness. But rather a world from which everything arises and into which everything submerges. The void is like the Tao, as described in Tao te ching,‘The Master observes the world but trusts his inner vision. He allows things to come and go.
His heart is open as the sky. ’The force is not only transcendental; it is also self-transcending, which means it is always in motion, action, and transformation and is beyond subjectivity. In the realm of Chinese brush painting, the figures portrayed possess a distinct quality that sets them apart from other artistic styles – an intriguing lack of precision that suggests a constant state of flux.
The artist’s intention of manifestation is conveyed through the concept of ‘Liu bai’ (留白)…the deliberate act of leaving certain areas untouched
留白
Nothing is left undone
The picture depicts the painter’s constant pursuit of harmony with the universe. In the realm of artistic expression, painting can be likened to a profound immersion into the boundless expanse of the universe, a process that harmonizes one’s inner essence with the grandeur of the cosmetic realm.
Chinese painting is thought to be very different from western art in terms of its technique and style. In a departure from the conventional approach to painting, the artist’s intention of manifestation is conveyed through the concept of ‘Liu bai’ (留白), which emphasizes the deliberate act of leaving certain areas untouched.
The application of this technique has been found in a wide range of Chinese paintings, with a particular emphasis on landscape paintings.
In these artworks, the portrayal of water consistently remains intentionally vacant, forming an integral part of the overall composition.
The images in this article show how the representation of mountains and forest encloses the spectacular cascade. The view is therefore not for ‘seeing’ but for ‘sensing’; not for ‘understanding’ but for ‘feeling’; and not for ‘examining’ but for ‘experiencing’.
The sensation of perpetual motion and fluidity is immediately experienced as an immediate result of the ‘de-piction’. The concept of “De-piction” can be seen as closely aligned with the underlying idea of the “void,” which is rooted in the notion of yi (意). Yi, which is typically translated as will, refers to the sheer dynamism of reality as well as the human urge for self-perfection.
In the realm of Chinese traditional painting, the essence of reality transcends mere ontology and embraces a dynamic perspective. At the heart of this artistic tradition lies the profound endeavor to encapsulate the ever-evolving consciousness of nature.
This is in contrast to the western image, which tries to produce a verisimilitude of reality or to make physical items iconic in order to serve as a gateway to a spiritual path.
Chinese brush painting is frequently associated with the concept of ‘xie yi’ (写意), which focuses on capturing the essence of the subject matter. Chinese artists aim to catch a glimpse of the yi (意), the ‘awareness’ of the physical objects, with/without the touch of their brushes.
Chinese paintings are inextricably linked to the intangible beyond the perceptible world, making them a eulogy of the infinite behind the finite. ‘Liu bai’ (留白) is like the interior region where the consciousness of a person resides.
Chinese brush painting is characterized by the untouched—the effortless being that appears to be non-being. In order to truly grasp the essence of Chinese brush painting, one must resist the temptation to fixate on the intricacies of brush strokes or get absorbed by the meticulous examination of shapes and forms.
Instead, the viewer should strive to delve into the profound revelation that lies within, allowing their eyes to wander freely and absorb the vastness of its meaning. The open-ended character of Chinese brush painting echoes Taoist practice by welcoming a wide range of observations.
In the realm of Chinese brush painting, the pursuit of a definitive aesthetic conclusion is not the primary objective. But rather a dynamic process, resembling a pilgrimage, propelled by the incomprehensible and profound power of divine.
As one looks out into the vastness of space, time stands still; each passing second is a step forward for the traveler. The individual’s study of the world is imprinted by the touch of the ground; every felt of ultimate unification with the great cosmos.
Cover photo: Robynne Hu. Drawings by Rosalind. Bottom pics: Tianhao Zhan
