Terra sebv s acta mvsei sabesiensi s

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.

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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

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R. K. Bazhanova, D. E. Martynov, Y. A. Martynova 

 

 

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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.

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 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

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