No CrossRef data available.
Article contents
The Wheel of Fortune vs. the Mustard Seed: A Comparative Study of European and Chinese Painting
Published online by Cambridge University Press: 01 January 2024
Abstract
The difference between European and Chinese traditions of painting has been widely discussed. This study argues that this difference can be seen in the different use of copybooks: a source from which many interesting theories can be developed. The paper compares several medieval European books, including Villard de Honnecourt’s Constructions: The Wheel of Fortune, with the Mustard Seed Garden Manual of Painting from China, and argues that, while the Europeans lay emphasis on geometric forms and the mathematical laws behind them, the Chinese learn painting in the manner of practicing calligraphy, paying more attention to the way of making lines and dynamic structures. The author argues that this divergence between the Chinese and Europeans in painting is based on their different views on the nature of creation.
Information
- Type
- Articles
- Information
- Copyright
- Copyright © ICPHS 2013
References
Beardsley, Monroe C (1966) Aesthetics: From Classical Greece to the Present. New York: Macmillan.Google Scholar
Bush, Susan (1971) The Chinese Literati on Painting: Su Shih (1037–1101) to Tung Ch’i-ch’ang (1555–1636). Cambridge: Harvard UP.Google Scholar
Carman, Charles (2007) ‘Leonardo's Vitruvian Man: Disegno Meets Theology,’ paper presented at the The Role of the Humanities in Design Creativity Conference 2007, http://pdfcast.org/pdf/leonardo-s-vitruvian-man-disegno-meets-theology.Google Scholar
Gao Jianping (1996) The Expressive Art in Chinese Art: From Calligraphy to Painting. Uppsala: Uppsala UP.Google Scholar
Gao Jianping (2003) ‘To Begin with a Beautiful Line …,’ Annals of Aesthetics (Chronika Aesthetikes), 42: 173–192.Google Scholar
Gombrich, E H (1972) Art and Illusion: A Study in the Psychology of Pictorial Representation. Princeton: Princeton UP.Google Scholar
Kaizhi, Gu (1963) « 畫論 », in Yanyuan, Zhang, 歷代名畫記, ed. Qin Zhonwen and Huang Miaozi. Beijing: 人民美術出版社.Google Scholar
Liang, Ssu-ch’eng (1984) A Pictorial History of Chinese Architecture: A Study of the Development of its Structural System and the Evolution of its Types, ed. Fairbank, Wilma. Cambridge, MA: MIT Press.Google Scholar
Liu, Li (2004) The Chinese Neolithic: Trajectories to Early States. Cambridge: Cambridge UP.Google Scholar
Buwei, Lü (1998) Printemps et automnes de Lü Buwei, translated from the Chinese by Kamenarovic, I. Paris: Cerf.Google Scholar
Pont, Graham (2004) ‘Philosophy and Science of Music in Ancient Greece: The Predecessors of Pythagoras and their Contribution,’ Nexus Network Journal, 6(1): 17–29.CrossRefGoogle Scholar
Richter, Jean Paul (1970) The Literary Works of Leonardo da Vinci, 1. New York: Phaidon.Google Scholar
Tao, Shi (1986) « 苦瓜和尚畫語錄 », in Binhong, Huang, Shi, Deng (eds) 美術叢書. Nanjing: 江蘇古籍出版社.Google ScholarPubMed
Tatarkiewicz, W (1980) A History of Six Ideas: An Essay in Aesthetics. Warsaw: Polish Scientific Publishers.CrossRefGoogle Scholar
Gai, Wang (1956) The Mustard Seed Garden Manual of Painting 1679–1701, a facsimile of the 1887–1888 Shanghai edition with the text translated from the Chinese and edited by Mai-mai Sze. Princeton: Princeton UP.Google Scholar
Zenner, Marie-Thérèse (2002) « Villard de Honnecourt and Euclidean Geometry », Nexus Network Journal, 4(2): 65–78.CrossRefGoogle Scholar
Jingxuan, Zhu (1986) « 唐朝名畫錄 », in Binhong, Huang, Shi, Deng (eds) 美術叢書. Nanjing: 江蘇古籍出版社.Google Scholar