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Reaching Likeness Through Unlikeness REACHING LIKENESS THROUGH UNLIKENESS The interpretation and application of busi zhi si in contemporary drawing PhD of Fine Arts LI WENMIN 2009 College of Fine Arts University of New South Wales THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: LI First name: WENMIN Other name/s: Abbreviation for degree as given in the University calendar: PhD of Fine Arts School: COLLEGE OF FINE ARTS Faculty: SCHOOL OF ART Title: REACHING LIKENESS THROUGH UNLIKENESS Abstract This research started with the question of how a contemporary artist could draw an object with its form and essence in a similar way to that of Chinese traditional artists. It is based on the exploration of the interpretations of busi zhi si 不似之似 (likeness of unlikeness), which has searched for the answers to a question how it is possible to interpret and apply the concept of “likeness” and “essence” of an object as depicted by Chinese traditional artists. More importantly, it has led to a process in which a contemporary artist endeavours to apply a particularly traditional concept to contemporary drawing practice properly. It is this approach towards Chinese aesthetics and philosophy with proper attitudes, which has greatly oriented the research in terms of its methodology. The focus of this research has been on the application of the designed methods, including the implementation of the methods in drawing, evaluation of the outcomes and reflection of the evaluation in practice. This written work serves as documentation and explanation of how this process has been carried out, as drawing has been the major component of the research. Chinese traditional learning method has been interpreted philosophically in this research in order to set up the practical methods to reach the main goal of depicting the essential likeness of the object. However, due to the various mediums being employed, distinctive from Chinese traditional medium, the Chinese learning methods have been interpreted as being imitations of the traditional way of depicting the objects. Three aspects in depicting the object, which are observation, outer likeness and interpretative likeness, have been studied in relation to Chinese aesthetics. This process of research has provided a means to build a bridge between Chinese and western aesthetical grounds on depictions of the likeness and essence of an object. The promising future of this ongoing research therefore seems to be more exciting to drawers with particular interests in applying aesthetic concepts in practice. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……… ……….……………………...…… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS Abstract This research started with the question of how a contemporary artist could draw an object with its form and essence in a similar way to that of Chinese traditional artists. It is based on the exploration of the interpretations of busi zhi si 不似之似 (likeness of unlikeness), which has searched for the answers to a question how it is possible to interpret and apply the concept of “likeness” and “essence” of an object as depicted by Chinese traditional artists. More importantly, it has led to a process in which a contemporary artist endeavours to apply a particularly traditional concept to contemporary drawing practice properly. It is this approach towards Chinese aesthetics and philosophy with proper attitudes, which has greatly oriented the research in terms of its methodology. The focus of this research has been on the application of the designed methods, including the implementation of the methods in drawing, evaluation of the outcomes and reflection of the evaluation in practice. This written work serves as documentation and explanation of how this process has been carried out, as drawing has been the major component of the research. Chinese traditional learning method has been interpreted philosophically in this research in order to set up the practical methods to reach the main goal of depicting the essential likeness of the object. However, due to the various mediums being employed, distinctive from Chinese traditional medium, the Chinese learning methods have been interpreted as being imitations of the traditional way of depicting the objects. Three aspects in depicting the object, which are observation, outer likeness and interpretative likeness, have been studied in relation to Chinese aesthetics. This process of research has provided a means to build a bridge between Chinese and western aesthetical grounds on depictions of the likeness and essence of an object. The promising future of this ongoing research therefore seems to be more exciting to drawers with particular interests in applying aesthetic concepts in practice. Table of Contents Table of Figures.................................................................................................................. 3 1 Introduction ................................................................................................................. 5 2 Preparation ................................................................................................................22 2.1 Shi Tao’s busi zhi si........................................................................................................22 2.2 Interpretation of busi zhi si........................................................................................24 2.3 Interpretation of the tradition..................................................................................27 2.4 Similarities between Chinese traditional painting and contemporary drawing........................................................................................................................................35 2.5 Likeness and essence in western drawing in the twentieth century...........38 3 Theoretical Foundation..........................................................................................52 3.1 Principles .........................................................................................................................52 3.2 Methods ............................................................................................................................60 3.3 Other relevant aspects.................................................................................................85 4 Implementation ........................................................................................................93 4.1 Imaginative drawing in observation ......................................................................93 4.2 Shadow – capture of outer likeness ........................................................................98 4.3 Interpretative likeness............................................................................................. 111 5 Evaluation ................................................................................................................121 5.1 Case study ..................................................................................................................... 125 5.2 Unity of subjectivity and objectivity .................................................................... 145 6 Reflection .................................................................................................................153 7 Conclusion................................................................................................................179 Selected Bibliography .................................................................................................186 Chronological Chart.....................................................................................................195 List of Plates ...................................................................................................................196 2 Table of Figures Figure 2 Shi Tao Sou jin qi feng da cao gao (Seaching for distinctive mountains to draft) (part), ink on paper, 42.8 x 285.5 cm, 1691, 26 Figure 3 Paul Nobel Mall 2001­2 (left),Russell Crotty Hercules Over Knolltop Estates (Previously Chapparall) 2002 (right), 50 Figure 4 Illustration of copying method in Chinese traditional painting. Pictures are from Chao Xun’s copies of The Mustard Seed Garden Manual of Painting, 1995, (left) and from W Li, 2002 (right) 54 Figure 8. Xu Wei Huang jia tu (a painting of a Yellow Crab) ink on paper, 114.6 x 29.7 cm, date unknown, picture is taken
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