Religion and Philosophy in Chinese Calligraphy – Buddhism and Chinese Calligraphy: Mad Monks

 

Chinese Buddhism: The Chan Tradition

Since its first arrival in China in the Han, Buddhism has put down deep roots in Chinese society. Although Buddhism did not originate in China, to say that it is a ‘foreign’ religion is to disregard the majority of Chinese history, in which Buddhism played a major role. Moreover, the Buddhism that evolved in China is different from any other iteration of the religion, and must be considered in its cultural and societal context, according to its own characteristics.  In general, Chinese Buddhism has emphasized meditation and monasticism above scripture and doctrine: the pursuit of enlightenment is achieved through casting aside the ‘illusions’ of text and even the physical sensations of the world.

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History of Sumi-e – The Ming Dynasty (明朝/Ming Chao/Ming Ch’ao): Cultural Restoration in Chinese Painting

 

Art Becomes Classic – Blurring of Boundaries Between Academic and Amateur Painting in China

The end of Mongol rule and the re-establishment of an indigenous Chinese emperor in 1368 led to a revival of the Imperial Academy and the painting styles of the Southern Song (960-1279 CE) and the Yuan (1271-1368 CE) Dynasties.  Some painters picked up the painting style of the Southern Song Dynasty, especially that of the Ma-Xia-School. Others continued the tradition of bird-and-flower painting from the times of Emperor Huizong.  Other artists brought colors back into picture and revived the blue-and-green painting style of the Tang Dynasty (618-907 CE). Since most of the Academy painters came from the Zhejiang province, they were named the “Zhe school”. The most notable painter of the Zhe School was Dai Jin. Their counterpart, literati painters from the Wu region in Suzhou, continued in the more expressive and individual styles of the Four Masters of the Yuan Dynasty. They are known as the “Wu school”, of whom Shen Zhou is best known for his eclecticism and ability to paint in the styles of former masters.  Although this two main currents in painting existed, the boundaries between academic and amateur painters blurred – not in stylistic terms, but in attitude, mostly when some literati, who had devoted themselves to nothing else but painting, started to accept money for their works, which had been not the case in earlier centuries.

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