Typological Features of Chinese Culture in the Ming Dynasty (1398-1644)
483
“A mastery of nuance, combined with the sharpness and power of the
brushstroke, helped to create the impression of airiness, fine details, the
distance or proximity of objects, movement and repose. The matt white
surface of the scroll was an important component of the creative image.”
23
A focus on spontaneity, on actions which respond to the situation,
reached its pinnacle during the period of the Six Dynasties age (3
rd
-6
th
centuries AD) in both the field of art and the culture of everyday life,
having developed into a complete aesthetic paradigm as a mode of thought,
behaviour and creativity. During this period, the transition from anonymity
to individual creativity was completed. One symbol of this process was the
rise of a new creative direction, which in fact signified the formation of
aesthetics as an independent branch of knowledge. This direction was
fengliu (“wind and stream”), which represented specifically “shocking”
culture.
The hieroglyph feng (wind, blowing, nature) implies the natural
movement of the energy-matter substance, qi, as revealed in almost all
spheres of life: in the manners of man, the morals of society, and even the
morals of nature. The second hieroglyph, liu (stream, current), refers to the
movement of water. In Chinese culture it is associated both figuratively and
naturally with qi and the Dao. The unity in duality of Feng Liu is, in a
certain way, connected with the term Feng Shui (“wind and water”), which
indicates both natural forces and the traditional art of understanding their
relations and human adaptation to them.
The development of Feng Liu as a style reflected the increasing
attention being paid to the problem of creative self-expression. The features
of Feng Liu are considered to be a relaxed attitude, and sometimes even
eccentric behaviour and appearance on the part of the artist. In terms of
intellectual practice, the proponent of Feng Liu held cultural values which
conformed to the tradition of “pure conversations” (qingtan - witty
philosophical and metaphysical discussions), whilst in the sphere of
individual action and creativity he preserved his inner freedom and intuitive
sensitivity to the movements of the Dao in the mystical depths of the
human spirit.
24
If we compare archetypal aspects of Indian and China cultures, Indian
culture is characterised by the phenomenon of personal representation of
artistry in ancient myths, narratives of beings with extraordinary powers.
Chinese myths, by contrast, are very “earthy,” closely connected with real
23
Vinogradova 1988, p. 9.
24
Bezhin 1982.
www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro
R. K. Bazhanova, D. E. Martynov, Y. A. Martynova
484
historical personae such as emperors, officials and philosophers, and the
accounts are generally less poetic.
The most generous in their recognition of the dignity of artistic
talents were Taoist stories about the xian. Xian are mortal beings who
acquire supernatural powers, bringing them closer to the gods. They can
transform their own and other people’s appearances, fly through the air, and
possess magical talismans. Among the xian, some of the most vivid
characters are endowed with artistic qualities. For example, there is Royal
Uncle Cao (Cao Guojiu), a real person thought to be a relative of the
Emperor Ren Zong (1023-1064). Disappointed with the ruling house, he
learned the art of “gold and cinnabar” - alchemy - and then took refuge in
the mountains. In popular legend, Uncle Cao transformed into the patron
saint of musicians and actors, and is often portrayed as an official in
ceremonial dress, but with castanets in his hands.
25
Another character, Han
Xiangzi,
26
a preacher of Taoism, won debates through performing miracles,
and was a lover of music and colour. When he played the flute, flowers
grew everywhere.
In the age of the Han (206 BC-220 AD) and the Six Dynasties, the
Jade Maiden (Yu Nu) - a lover of cheerful feasts, hostess to immortal peers
and divine singer - was particularly popular among the elite. Yu Nu was
believed to be an inspirer of orgiastic mysteries, and was depicted as a
beautiful woman in gorgeous clothing and jewellery.
27
Also in the pantheon
of Taoist xian was patron of crafts and craftsmen, Lu Ban,
28
the great
inventor and architect. According to legend he sculpted from rock a bird
that looked completely alive.
29
Finally, a very popular figure among
scientists and officials with exams to pass was the astral character associated
with the constellation of Wenchang, the God of Literature. He was
responsible for all areas of education and intellectual occupations and was
the protector of all cultured people.
By way of comparison, it can be noted that the gods of the Hindu
pantheon were quite indifferent to artistic manifestations of talent, and were
25
Kravtsova 2004, p. 496.
26
Han Xiangzi (768-824): said to be the nephew or grandnephew of Han Yu (768-824
AD), he was a prominent Tang Dynasty Confucian philosopher. Because his flute gave life,
Han became the protector of flautists.
27
Kravtsova 2004, p. 487.
28
Lu Ban (c. 507-440 BC): ancient Chinese carpenter, engineer, philosopher, inventor,
military thinker and statesman. He was a contemporary of Mozi, and is the patron saint of
Chinese builders and contractors.
29
Kravtsova 2004, p. 538.
www.cclbsebes.ro/muzeul-municipal-ioan-raica.html / www.cimec.ro