An Analysis on the Aesthetic Theory of Wang Wei's On Paintings

Philosophy and Culture 38 (6):125-139 (2011)

Wang Wei is important to draw on the Eastern Jin Dynasty house, its Lifetime slightly later Zong Bing, its important to draw on the "classification of Painting" with Zong Bing's "painting landscapes order" with the earliest theory of the Chinese landscape painting. Both the theory of painting a lot in common, it is worth more study. This paper is divided into the following four sections: Wang Wei's life activities; "classification of Painting" context; "classification of painting" aesthetic meaning; conclusions. Wang Wei's life activities for the introduction, in order to allow readers to understand their position in the history of Chinese painting. The "classification of painting," a text of the letter, the text of the brief text, rich in implication, micro-cited text and vernacular translation, the original author to help readers develop the most direct contact with the first class. "Classification of painting" aesthetic meaning, is the focus of this article, the authors based on their context, the difference between the "Introduction", "this almost shaped by financial Spirit", "painting of the letter," "art of love" four sections, respectively, on homologous and painting problems, painting ontology source painting philosophy of art, painting aesthetics Zheng problem. By the silt was so long ago, the private copies of the original version there are many different, leading to differences on the interpreted, this treatment also slightly, to facilitate the smooth reading of its context. At the conclusion, this article on the "classification of painting," the meaning and value affirmed and respected. As an important painting theorist in the Period of Eastern Jin, Wang Wei was born a bit later than Zong Bing, while Wang's On Paintings and Zong's Preface to Landscape Painting are both the earliest theories of Chinese landscape paintings. Their theories about painting have a lot in common and deserve some comparative research. This article is divided into the following four sections: Wang Wei's biography; the purport of On Paintings; the aesthetic meaning of Preface to Landscape Painting; and the conclusion.The brief biography of Wang Wei is to make the readers understand his status in the history of Chinese painting. Regarding the purport of On Paintings, its writing is succinct but rich, and the text is quoted and paraphrased to help the readers develop the most direct first contact with the author. The aesthetic meaning of On Paintings is the main point of this article. Based on its purport, the writer proceeds along four sections to discuss respectively the following issues: the same origin of calligraphy and painting, the existential origin of painting, the artistic philosophy of painting and the aesthetics of painting. Due to the historical distance, the manuscripts of the original text are inconsistent in many ways, which leads to many differences in interpretation. Here we address the disagreements between the different copies to facilitate the reading of its meaning. In the section of the conclusion, the meaning and value of On Paintings are confirmed and upheld
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