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“Pre-Buddhist” Conceptions of Vision and Visuality in China and Their Traces in Early Reflections on Painting |
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| 著者 |
Suter, Rafael (著)
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| 掲載誌 |
Asiatische Studien : Zeitschrift der Schweizerischen Gesellschaft für Asienkunde=Etudes asiatiques : revue de la Société Suisse d'études asiatiques
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| 巻号 | v.74 n.4 Special Issue |
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| 出版年月日 | 2020.11 |
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| ページ | 1013 - 1079 |
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| 出版者 | Swiss Asia Society=Schweizerische Asiengesellschaft |
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| 出版サイト |
http://www.sagw.ch/asiengesellschaft
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| 出版地 | Zurich, Switzerland [蘇黎世, 瑞士] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 英文=English |
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| ノート | Author affiliation: University of Zurich |
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| キーワード | seeing; imagination; spirit (shen); Chinese Landscape Painting (shan shui); early Chinese Cosmology and Gnoseology of Light; Jia Yi (c. 201–169 BCE) |
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| 抄録 | This paper attempts to delineate the relation of early Chinese views on vision and visuality to nascent reflections on painting arising in the Early Medieval period. Ever since that time, pictorial creativity has been associated with Buddhist ideas of spiritual perfection. Likewise, the Early Medieval concern for the visualization of spiritual journeys to exceptional humans (and superhumans) through imaginary landscapes seems to be of Buddhist origin. The first part of this paper gives a short sketch of the intellectual landscape in which theorizing on painting since the 5th century CE first arose. The main body of the study, consisting of parts two through five, close readings of pre-Buddhist texts on vision and imagination. From these exploratory investigations it emerges that the very terms that are key in early reflections on painting such as ‘spirit’ (shen 神), ‘perspicacity’ (ming 明), but also ‘imagination’ (xiang 想) and ‘symbol’ (xiang 象) are closely related to a specific conception of seeing and visuality which is manifest in these texts. A final part sketches the possible relevance of these observations in early and pre-imperial sources for the interpretation of Chinese theories on painting. It emerges that while the rising interest in imagination since the Eastern Jin period is indeed an innovation inspired by Buddhism, the extraordinary role of the notion of ‘spirit’ in reflections about painting is closely related to earlier autochthonous traditions. The appeal to specifically Buddhist notions such as the samādhi of free play in texts on pictorial production and contemplation appears to be of a secondary character. It seems to be mediated by the inclusion of the very word ‘spirit’ (shen) into Chinese renderings of technical Buddhist terms related to meditation, which resulted in the implicit association of this specialist vocabulary with inherited conceptions of spirit as a luminous force animating, inspiring and enlightening things, in both quite a literal and in a rather metaphorical sense. |
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| 目次 | Abstract 1013
I 1014
II 1025
III 1034
IV 1037
V 1068
References 1073
Primary Sources 1073
Secondary Literature 1076 |
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| ISSN | 00044717 (P); 22355871 (E) |
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| DOI | 10.1515/asia-2020-0022 |
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| ヒット数 | 133 |
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| 作成日 | 2023.08.04 |
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| 更新日期 | 2023.08.04 |
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