The reclusive dwelling is an important part of the traditional philosophical culture of ancient China.The Chinese spiritual imagery of reclusion is mainly represented by narrative mediums of poems,paintings,and garden...The reclusive dwelling is an important part of the traditional philosophical culture of ancient China.The Chinese spiritual imagery of reclusion is mainly represented by narrative mediums of poems,paintings,and garden works,resulting in artistic visualization with poetic implication.The article analyzed six Chinese landscape paintings of reclusive dwelling theme,in terms of narrative medium,visualization,and implication.The intention is to conclude the reclusive dwelling schema of Chinese landscape painting and study a visualizing methodology involved spiritual implication on dwelling,which could be beneficial to both contemporary art and architectural creations.展开更多
During the Southern Dynasties,shanshui山水(landscape)emerged as an independent aesthetic subject in literary and artistic works.The underlying causes of this phenomenon have been extensively investigated in academic s...During the Southern Dynasties,shanshui山水(landscape)emerged as an independent aesthetic subject in literary and artistic works.The underlying causes of this phenomenon have been extensively investigated in academic scholarship.This study explores the intrinsic connections between official career pursuit and reclusive withdrawal(chuchu出处)and the literary discovery of shanshui as aesthetic subjects by investigating the lives of three representative figures of the Xie family of Chen Prefecture:Xie An谢安of the Eastern Jin Dynasty,Xie Lingyun谢灵运of the Eastern Jin to Liu-Song transition,and Xie Tiao谢眺of the Qi Dynasty.The findings suggest that:For Xie An,shanshui served not only as sensory pleasure but also as a vehicle to alleviate psychological tensions arising from political struggles.For Xie Lingyun,shanshui provided a space to contemplate metaphysical principles,laying the philosophical foundations for the aesthetic exploration of sensory beauty.Xie Tiao integrated shanshui into daily life through his bureaucratic routines and travels,ultimately transforming nature into a spiritual sanctuary for scholars navigating court politics.展开更多
In Li Bai's李白“Seeing Off Wei Wan,the Recluse of Wangwu Mountain,Back to Wangwu Mountain,witha Preface”送王屋山人魏万还王屋并序,which consists of 64 lines,theentire journey of Wei Wan's魏万travels inthe Wu ...In Li Bai's李白“Seeing Off Wei Wan,the Recluse of Wangwu Mountain,Back to Wangwu Mountain,witha Preface”送王屋山人魏万还王屋并序,which consists of 64 lines,theentire journey of Wei Wan's魏万travels inthe Wu and Yueregions(alongthe lower reaches of the Yangtze River)is meticulously recounted.Many of the scenes described in this poem also appear in Li Bai's other works on Jiangnan,making this poem a complete collection of Li Bai's literary accounts of Jiangnan.By examining the chronology of Li Bai's poems about his travels in Yue,it can be observed that Wei Wan's journey closely resembles Li Bai's initial trip to Wu and Yue.Wei Wan's travel enthusiasm stirred Li Bai's youthful memories.Li Bai's account of the journey not only praises Wei Wan's celebrated scholarly demeanor but also serves as a reminiscence of Li Bai's own multiple travels in Eastern Zhejiang,reflecting the geographical consciousness of people in that era regarding Jiangnan.Unlike the Early Tang poets'fondness for traveling in Shu(present-day Sichuan)and distinct from the Mid-to-Late Tang poets'experiences of traveling for official purposes or seeking refuge to the south of the Yangtze River,the trend of traveling in Jiangnan during the High Tang period was primarily driven by a need for spiritual experiences.This was related both to the central status of Tiantai Mountain in Daoism and to the initial geographical consciousness and aesthetic view formed among scholars of the time through the book Selections of Refined Literature文选.Interpreting Li Bai's poems allows for a detailed examination of the cultural connotations within his geographical consciousness.展开更多
基金This paper is supported by the projects:Humanities and Social Sciences Project of the Ministry of Education of China(21YJCZH228)Research Startup Fund Project of North China University of Technology.
文摘The reclusive dwelling is an important part of the traditional philosophical culture of ancient China.The Chinese spiritual imagery of reclusion is mainly represented by narrative mediums of poems,paintings,and garden works,resulting in artistic visualization with poetic implication.The article analyzed six Chinese landscape paintings of reclusive dwelling theme,in terms of narrative medium,visualization,and implication.The intention is to conclude the reclusive dwelling schema of Chinese landscape painting and study a visualizing methodology involved spiritual implication on dwelling,which could be beneficial to both contemporary art and architectural creations.
基金study constitutes an interim result of the project“A Study of the Philosophical Basis of Official Career Pursuit and Reclusive With drawal and Its Aesthetic Implications”出处问题的哲学基础及其美学意蕴研究(10cZX053)of the National Social Science Fund of China.
文摘During the Southern Dynasties,shanshui山水(landscape)emerged as an independent aesthetic subject in literary and artistic works.The underlying causes of this phenomenon have been extensively investigated in academic scholarship.This study explores the intrinsic connections between official career pursuit and reclusive withdrawal(chuchu出处)and the literary discovery of shanshui as aesthetic subjects by investigating the lives of three representative figures of the Xie family of Chen Prefecture:Xie An谢安of the Eastern Jin Dynasty,Xie Lingyun谢灵运of the Eastern Jin to Liu-Song transition,and Xie Tiao谢眺of the Qi Dynasty.The findings suggest that:For Xie An,shanshui served not only as sensory pleasure but also as a vehicle to alleviate psychological tensions arising from political struggles.For Xie Lingyun,shanshui provided a space to contemplate metaphysical principles,laying the philosophical foundations for the aesthetic exploration of sensory beauty.Xie Tiao integrated shanshui into daily life through his bureaucratic routines and travels,ultimately transforming nature into a spiritual sanctuary for scholars navigating court politics.
基金the Fudan Tyndall Center's Interdisciplinary Research Project on Eco-Environment and Humanities and Social Sciences(No.FTC98503A10)the Major Project of the National Social Science Fund of China,"A Study on the Environmental Change History of the Yangtze River Delta since the Song Dynasty"(No.O9&ZD068).
文摘In Li Bai's李白“Seeing Off Wei Wan,the Recluse of Wangwu Mountain,Back to Wangwu Mountain,witha Preface”送王屋山人魏万还王屋并序,which consists of 64 lines,theentire journey of Wei Wan's魏万travels inthe Wu and Yueregions(alongthe lower reaches of the Yangtze River)is meticulously recounted.Many of the scenes described in this poem also appear in Li Bai's other works on Jiangnan,making this poem a complete collection of Li Bai's literary accounts of Jiangnan.By examining the chronology of Li Bai's poems about his travels in Yue,it can be observed that Wei Wan's journey closely resembles Li Bai's initial trip to Wu and Yue.Wei Wan's travel enthusiasm stirred Li Bai's youthful memories.Li Bai's account of the journey not only praises Wei Wan's celebrated scholarly demeanor but also serves as a reminiscence of Li Bai's own multiple travels in Eastern Zhejiang,reflecting the geographical consciousness of people in that era regarding Jiangnan.Unlike the Early Tang poets'fondness for traveling in Shu(present-day Sichuan)and distinct from the Mid-to-Late Tang poets'experiences of traveling for official purposes or seeking refuge to the south of the Yangtze River,the trend of traveling in Jiangnan during the High Tang period was primarily driven by a need for spiritual experiences.This was related both to the central status of Tiantai Mountain in Daoism and to the initial geographical consciousness and aesthetic view formed among scholars of the time through the book Selections of Refined Literature文选.Interpreting Li Bai's poems allows for a detailed examination of the cultural connotations within his geographical consciousness.
