Ink Painting - Lingnan School of Painting Essay

Ink Painting - Lingnan School of Painting - Essay Example The paper "Ink Painting - Lingnan School of Painting" analyzes how the Lingnan School of Painting contributed to the innovations of the traditional Chinese ink painting, and how it influenced the traditional Chinese ink painting; what were the dissatisfactions articulated by the emerging Lingnan School; how the Lingnan style distinguished itself, in both their underlying philosophy and the art through which they expressed it; and in what direction(s) has the Lingnan school led, in its influence on Chinese ink painting. There were a number of defining characteristics of traditional Chinese ink painting, prior to the emergence of the Lingnan School. These defining characteristic might be arranged into the categories. With respect to the audience, traditional Chinese ink paintings were not created for common people or for a mass audience, but were generally privately-commissioned and intended for an elite audience only. Because the usual form of the painting included calligraphy and poe try, as well as painting and signets, it was done by educated scholars, for whom it was their esoteric passion. As such, the traditional Chinese ink paintings were often too lofty to comprehend. For this reason, they had a limited appeal, though very beautiful. The painter was, in a mystic way, the subject of his/her own painting, whether the apparent subject was landscape, flowers, or animals. The painting expressed the sentiment of the painter, but it was more intimate than that. The painting expressed the personality.... It can be understood that all painting, by artists, should develop their skills. Traditional Chinese ink painting was understood to be more profound than this. The painter painted and developed intellectually and spiritually. It was about the deepest aspects of being and the sensitivity of consciousness 5. Landscape paintings, for example, were lovely and set a mood. More than that, they communicated the emotion that the scholar-poet-painter experienced in that environment. Beyond that, the mountain or waterfall or other landscape setting shown, revealed the personality of the painter, for those who understood how to read the clues. It was not merely a painting for an audience, but it was an opportunity for the painter to reflect and develop personality and spirit. It was this painted high being-ness that the elite audience of traditional Chinese ink painting was looking for and paying for. In appreciating a painting, then, the audience appreciated Spirit and Consciousness. It was co nceptual, rather than visual 6. The subject of traditional Chinese ink painting was always painted in an abstract manner. From the 10th century to the 20th, it was thought that realism somehow cheapened the aesthetics of a painting. So, Chinese traditional ink painting was always expressionist, and not realist, and eventually even the selected subject itself was abstract. For example, a favorite subject of traditional Chinese ink painting, by the nineteenth century, was Taoist and Buddhist teachings. It is no wonder that the subjects of the paintings, for 800 years, were considered by later painters to be aloof from worldly affairs 7. The subjects painted were human figures, landscapes, flowers and birds. These three categories, however, are more