Document Type : Research Paper

Authors

• S.M. Mahdi Saatchi ¹
• khosro zafarnavaei ²

¹ Shahid beheshti University

² Azad u

Abstract

The history of Chinese philosophy clearly shows that one of the most concerns for people of the region had been adaption of human with nature and society. In the field of art and painting, it can be concluded that for them, nature is very much the same as ink brush painting. Both nature and the paintings are a symbol of beauty and harmony of the cosmos. Thus, this paper is based on the teachings of the Dao, the ideological influence in shaping all aspects of ancient Chinese culture, especially in the field of visual culture; the meaning of "nature" in Chinese landscape through coordination with it is studied. Conception of nature is related to spontaneity or spontaneous recall things and gets rid of the artificial matter. So when things being free to follow their natural path, moving in perfect harmony. Generally, Dao is symphonic with the nature of the course and flow of nature. The way Dao is in the Chinese art throughout history, e.g. natural and spontaneous course of things, and purpose of the artist's inspiration, stems from the notion of hidden power that touches the soul and variety it describes the different types of viewers. The purpose monk Dao should avoid is anything that is inconsistent with the nature. It is not nature that needs to reform and perfect, but it is “we” who need to change and we must adapt ourselves to do it. It should not be against nature and the nature of the way that artists go through. Artist should disappear in nature. The Dao School, as the driving principle of the universe (Dao) is defined as harmony between opposites that interact with each other (Yin and Yang). Balance between opposites is a natural force or spirit, called "chi" creates. Hence, landscape paintings (shan-shui) are also a reflection of the prevailing belief in the “Yin” and “Yang”.

Keywords

• nature
• landscape painting
• harmony
• spontaneity
• Daoism