The Situation in Ancient Chinese Poetology and Painting Theory – A Study Based on the Meaning of the Body in Phenomenology

• Main Authors: Tsai Shung-Cheng, 蔡尚政
• Other Authors: Mathias Obert
• Format: Others
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/54496179470745048180

碩士 === 國立高雄師範大學 === 美術學系 === 101 === The major subject of this study can be summarized in following two topics: First, considering about the processes for the unfolding of “yi-jing” (a situation carrying the current of emotion and intentionality), the interaction between a person (observer) and the “yi-jing”, and then for this person to appreciate that he is really in a factual situation from his experience, the main concern of this study is how those processes and inner effects could be possible? Secondly, regarding to the “Shan-shui” (mountains-waters/landscape) as a place for practice, it seems to be confront with the human who is in practice. The relationship between shan-shui and human seems to be mutually exclusive, and one is an object as the other is a subject. This study focuses on how could shan-shui and human merge into an coherent whole by interweaving to each other through cyclic process in factual situation, and this coherent whole therefore could be a place where the signification of being is revealed? My apprehension, thinking and articulation are primarily based on ancient Chinese poetology and painting theories. What the western art theories and aesthetics bring to me is a vision that is closer to contemporary thinking context. By communicating with different cultures, the inspirations and resonances are caused from each other, and the horizon of vision is also expended. In such approach of study, we are able to reach multiple aspects and find contemporary meanings for ancient Chinese poetology and painting theories based on personal experience in current factual situations. My choice of cross-cultural studies is not only a decision of research method, but also a methodological gesture of articulation. This gesture can therefore be realized as an kind of identification with ancient Chinese poetology and painting theories. Generally speaking, the discourses of this thesis follow my approach of thinking and investigation, and proceed with a process of continuous questioning, reflecting and articulating. The achievements of this study are listed in following: 1. Clarification for the problems of perspective with multiple focuses Shan-shui-hua (Chinese landscape painting) is neither an object conforming to the rational operation of perspective and having an inevitable relation of representation with actual world, nor an abstractive form expressed by personal sensitivity of subjective experience, and having a contingent relation of expression with actual world. 2. Explanation for “Shen-li of Yi” “Yi” (intentionality) originates from the certain situation of humans. Comprehensions and feelings occur to a person when his personal disposition and propensity encounter with his current situation. Therefore, “Yi” is based on situation and coming from situation, and “Shen-li of Yi” (the coherence of yi) is the dynamic relation of disposition and the potential tendency of propensity. This Shen-li is also called “shi”. 3. Clarification for the inner correlation and coherence going through “jing yu xing hui” to “qing jing xiang ru” According to the operational principle of “ji ti cheng shi” and “shi zhu qing qi”, “shi” is not only related to “jing” (situation), but also related to “qing” (emotion and feeling). The coherence between “jing” and “shi” is embodied by the disposition of “ti/wu-xiang” (form/image-phenomenon), and the coherence between “xing” (character or propensity) and “qing” is comprehended by the propensity of “xin/shen-ti” (heart/living body). As such, the process should be educed by “jing yu xing hui” that is an encounter for humans and “wu-xiang”, and then the disposition and propensity of “ti-shi” between “qing” and “jing” (individual view) could be engaged in order to unfold following process of “qing jing xiang ru” (interpenetration between qing and jing) in factual situations. 4. Reflections and interpretations for yi-jing theory According to previous studies for the concept of perspective and clarification for inner correlation and coherence between “jing-shi” and “xing-qing”, we can understand that “yi-jing” is neither an ideal framework of space, nor a platform for building scenes by placing and assembling objects as a layout of stage in order to simulate an actual landscape. Eventually, the purpose is to build up a model of scene or a stage that can be visually associated with real environment. Perhaps, we should say that “yi-jing” is an initial condition for individual object to be transformed into “yi-xiang” (image-phenomenon of yi). For this reason, it is similar to a “road” that can be a pathway for passing through, guiding direction and keeping linkage. In addition, it can lead “wu-xiang” into an own situation that is a “personal” specific situation. In this regard, “yi-jing” involve both of the “wu-xiang and the human in a process of “qing jing xiang ru” in factual situations. 5. Manifestation for the relation between the reversibility of bodily perception and “Being-in-the-world” As a reversible pivot “Living body” interweaves visible “ti (wu-xiang)” and invisible “xin (xing)” to be a sensible factual “situation” by getting through the momentum and tendency of “shi”, it’s the effective principle of “gan-tong” (feeling and comprehending). To be “sensible” and also “sensitive”, the “reversibility” is the principle for unfolding process to disposing the situation of “Ereignis”. It’s the very situation of being emphasized by the notion of “Being-in-the-world”. 6. “Being-in-the-world” and the genetic meaning for ancient Chinese lyrical tradition According to the lyrical tradition in ancient Chinese cultures, “Lyric is the embodiment of lives in the self-moment.” (Yu-Kung, Kao) This aesthetic notion is devoted to embody the comprehensions for the signification of life deriving from the situations of self-moment, and it also expresses a sentiment of arts by dedicating itself to the living world. What it is looking for certainly is a process from comprehension to identification, and a place where it can eventually belong to and settle down itself. A personal own signification of life ─ a signification of “Being-in-the-world” ─ can also be found through this process in this place. This road going along with poetics and painters is an unfolding process of situations as a path crossing through the cultural fences in the woods. This consistent way for thinking and questioning could conduce to the encounter of “jing yu xing hui” only if the living body is in place. As such, the activities of living body will link and unfold the “future” and “past” by the situations in current moment. The senses for long-standing time, alternation of day and night, and changing season will also be merged by the living body that interweaves itself with nature in order to integrate into a situation with certain atmosphere. This integral and factual situation is a lyrical world where can be comprehended, identified and belong to. Therefore, we can say the place of living body is the place where we can build up and constitute the signification, can travel around and dwell in, and even can keep thinking and questioning. Once we are there, we can poetize and paint.