Визуални изследвания

За триединството: живопис, калиграфия и поезия в Китай. Символизмът на облаците в китайската живопис

Вяра Попова БАН, България

Страници: 49-59


The text is based on Hubert Damish’s thesis in „A theory of (cloud): toward a history of painting“ (2002), where the cloud is interpreted as non-inclusive, not participating in the perspective model as a painting system. Respectively, the cloud as an anachronism of the picturesque as opposed to a linear (perspective) dominant Western norm (in Damish terminology) is traced as functioning in Eastern, Chinese painting itself as a kind of cultural and historical rudiment. And it is through the synthesis of painting and word in Chinese painting: 1 / it is demonstrated in contrast to Foucault’s thesis in “This is not a pipe“ how it is possible for a verbal sign and visual representation to be given simultaneously; 2) the historical origin of the letter is displayed as a sign from the image as a hieroglyphic symbol; 3) demonstrates how the third dimension is constructed not in perspective, but in a meaningful depth, and precisely through the clouds as a metaphor for the Maya (illusion) of the visible and all-in-one nature of things; 4) so summarizing: the cloud rises from scenic scope and instrument to the level of universal cultural metaphor.

Ключови думи:

Alfred Stiglitz’s “Equivalents”; perspective (linear) and pictorial tradition; symbol – sign; ideogram – pictogram – hieroglyph; image – word; clouds as a cultural metaphor; Maya; All the same; The Shunyata; The Middle road; meditation (contemplation); Enlightenment (Satori) – Nirvana – Insight – catharsis; the landscapes of Paul Cezanne


71 изтегляния от 19.9.2020 г.