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Toward a Structural Analysis of Chinese Landscape Painting Author(S): Wen C Toward a Structural Analysis of Chinese Landscape Painting Author(s): Wen C. Fong Source: Art Journal, Vol. 28, No. 4 (Summer, 1969), pp. 388-397 Published by: College Art Association Stable URL: http://www.jstor.org/stable/775311 Accessed: 14/09/2010 16:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal. http://www.jstor.org Wen C. Fong Toward a Structural Analysis of Chinese Landscape Painting A critical and historical study of Chinese painting has long suffered from the lack of an acceptable method for dating paintings by style. Mr. Li Lin-ts'an of the Na- tional Central Museum in Taiwan has published a series of three articles dealing with this problem.' In "Rules for Dating Chinese Painting," Mr. Li lists the study of mate- rial, technique, period style, personal style, signature and colophon, and catalogue description as "six methods for In "The of Ink-bamboo he dating."2 Dating Painting," 4,:t:::I samples eighty-eight bamboo paintings attributed to fa- mous masters, from the tenth through the eighteenth cen- turies, and attempts diagrams illustrating the technical development of the bamboo stalks and leaves. These dia- grams show, for instance, "ring joint technique," "plain joint technique," "dotted joint technique," "natural leaves," "star-shaped leaves," "feathered-shaped leaves," etc.3 Mr. Li's classification of motifs and techniques con- Fig. i. Detail of Mirror, early 8th century, Sh6s6in Treasury, Nara, Japan. tinues in the tradition of the "Mustard Seed Garden at the base of the nail. Mr. Painter's Manual" of the seventeenth century. By arrang- finger Chang's demonstration is in at least two ing his motifs chronologically, he hopes to establish cer- methodologically meaningful respects: his tain criteria for dating. His demonstration suffers, how- firstly, since wall-painting examples are archaeologi- ever, from two serious difficulties: firstly, he is faced with cally discovered and dated, he does not have to concern the problem of circularity: that of having to date a style himself with the problem of later copying and imita- by means of examples which themselves need to be tion;5 secondly, by describing not only the shape of the nail but also how it is on the he dated; secondly, motifs are easily imitated and perpet- finger grown finger-tip, uated in the copies. Even if we assume that all of Mr. is observing a morphological detail, which, if verified by Li's samples are correctly dated and authentic, his dia- all archaeologically dated examples, may constitute a pe- riod that grams of motifs merely illustrate, as in the "Mustard characteristic governs all figure paintings of Seed Garden Painter's Manual," the technical traditions that period. There is, from the point of view of descrip- tive a difference between Li's of the various masters' manners. They provide no clue method, significant "star- and that recede into the for the actual dating of a painting, or a copy, in the man- shaped leaves" Chang's "nails fin- ner of a given master. ger-tip"; the former merely identifies a two-dimensional I SLi Lin-ts'an, "Chung-kuo-hua tuan-tai-yen-chiu-li [Rules Chinese "in" An interesting appendix to Li's "Rules for Dating for Dating Painting], Studies Presented to on His The Chinese Painting" shows seven illustrations by the fa- Tung Tso-pin Sixty-first Birthday," Bulletin of Institute mous contemporary Chinese painter Chang Ta-chien (or the of History and Philology, Academia Sinica, extra volume no. Chang Dai-chien), demonstrating the development of the 4, 1961, pp. 551-582; "Chung-kuo-hua- shih ti Chinese Paint- drawing of the hand as seen in Buddhist wall-paintings ch'ung-chien [the Reconstruction of at Tun-huang.4 Mr. Chang notes, for instance: in the ing History]." Ta-lu tsa-chih, XXXI, no. 5, 1965, pp. 1-5; on Northern Wei period, the drawing of fingers shows nei- "Chung-kuo mo-chu-hua-fa ti tuan-tai-yen-chiu [Study the Ink-bamboo The ther joints nor nails; during the reign of K'ai-yiian, (713- Dating of Chinese Painting]," Na- 742), the hand is plump and soft and has "nails that re- tional Palace Museum Quarterly, Vol. I, no. 4, 1967, pp. cede into the finger-tips": during the middle T'ang, the 25-79. nails "grow over the finger-tip, tapering to a rounded 'Op. cit., pp. 554ff. point"; in early Sung hands, there is a short straight line ' Op. cit., betweenpp. 78-79. SOp.cit., figures14-17. ' Mr. Fong teaches Chinese art at Princeton. This paper is There is, of course, the problem of repair and repainting a statement he wrote some time ago in preparation for a in wall-painting, which often complicates the task of sty- book on Chinese landscape painting. M listic analysis. ARTJOURNAL XXVIII 4 388 . i:o i* :i o i::i:i oio o* :j j:j: ii:i? :70 ::: :7 ................... :: '.",,X ?::? -:-:-:K ?.?? ..,. a.. ? - . I,:." iiiiii~:iiiiiiiiiiiii:iiiiiiiii lil~i~ i i iilii~i : lii~ii~iieiiiiiiiiiPO',"iii R I I ::1, .? ;:,-.??:??:.;-:.. ;?.... : :..- -.- ...,...i:,:...- :..:.,::.::::?j:...?<-..,? , , I:i?r::::~ ~~::::-?l:III::::::::II::i::-:::::~~~7 7 7 : 7 77l- ,.. "?:.; , X 1. .::::???, :?i:::MI'. Q .: -11 ? ..... ::.:: ::: I I I :i? ,,,?i??::M'? :..:".. ..... ......................... ?- - . .k?.. ? .. ?.- . 1;? I "'ii'ijir K?*::::I .1I - I * : I 1. .1.? , . I.. sp .1.1?%? - .I ..--m. l. ii~i' -. ???.? ? ---.. ?..,., " ? -1 ?s~-lI? ~? . a Ii~n~ii~~2~i~~#~k~l, ?1 ~?PP'~~ ?,1," 1 , -? . :1 .iiE~ifiii'~r3ii,; , ? ,?. ,i *?- ? ? - &? '' ,? I ? - ?.,., , -?. , - .1,.1 - ., ,.?*-, - , - . ",I -? ,..- --11, iiiii*ii0k?. - ?-.?.?, K '* , ?, " ,-,, ? I , - i ? ?, - ? - ?,, -T , `-?, -,I?A.? ?:? -o ? - I .-..?.,. ---:?i.:iii-.'?*:::i--.l?l~i -?,.,*",:.,; " 'iil~ii:~9~i~?is~Pe~..........................i~iii ?X. , .? ?.. w 1.1. -, :.*?:::;:?. ..; _- .? - ,x I~iilli~fii''~~'i~~l~ij~i~SWIM~ :?Ni:il?? : ?. , ? .~ii~~i~'.~.. ::??:?:, .. ......... ---- :: :.? .. .,: .?:m.::::;::::. 7.,?: '* . ... ... Fig. 2. Landscape with Riders on an Elephant, 8th century, Sh6s6in Treasury, Nara, Japan. motif without indicating its structural relationship with Fig. 3. Scenes Illustrating the Life of Buddha, 9th century, silk banner from Tun- British Museum. other parts of the painting, while the latter, by showing huang. concern for the relationship between two motifs, the nail painter's observations far enough to describe the chang- and the finger-tip, begins to describe a structural configu- ing structural configurations of the hands of the various ration. Mr. Chang, however, did not carry his sensitive periods. For the early-T'ang period, he merely noted that 389 Fong: Toward a Structural Analysis of Chinese Landscape Painting "the brushwork is gentle and supple; it is capable of de- scribing some of very difficult hand gestures." When we try to identify and describe an individual manner, we usually note its special form elements, mo- tifs and techniques on the one hand, and its unique expressive qualities on the other. When we try to classify a style, however, we interpret the stylistic peculiarities of an individual work as specific solutions to generic struc- tural problems.6 While neither motif nor quality gives adequate evidence for fixed positions in time, morpholog- ical analysis dealing with successive visual structures in history provides a key for dating a painting. From the structural point of view, before a painting of whatever form elements, motifs or techniques can express a certain philosophy or mental outlook, it resents first a solution to the problem of delineation, modelling and composi- tion. Form relationships seem to change without direct relationship to meaning.' An obvious example is that de- spite the Chinese painter's avowed lack of interest in "form-likeness," they nevertheless successfully mastered illusion in painting. Every Chinese painting is at once representation, decoration and abstraction; it is the arranging of form elements to create a semblance of nature that exists in its own right. From the representational point of view, Chang's illustrations show the development of the draw- ing of the hand from a two-dimensional silhouetted shape to a three-dimensional and fully articulated, grasp- ing organ: each stage is characterized by certain struc- Fig. 4. Autumn, Eastern Mausoleum at Ch'ing-ling, Eastern Mongolia, ca. 1030. tural problems and solutions. The Northern Wei hand was neither joints nor nails, because it is conceived as a ponents. The early T'ang emphasis on complex hand-ges- silhouetted form without organically differentiated com- tures reflects an interest in conquering the technical diffi- culties in representing a hand. Both the short nails "that recede into" the finger-tip and long ones "that grow SIn his well-known article on "Style" (in Anthropology over" the tip show the middle-T'ang concern for organic Today, edited by A.
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