Dao sklaida kinų peizažinės tapybos ikonografijoje

LTŠiame tekste svarstoma, kokiu būdu monochrominiuose kinų tušo peizažuose įamžintos daoistinės idėjos. Bandoma parodyti, kad pagrindiniai ikonografiniai kinų peizažų elementai, visu pirma kalnai ir vandenys, įkūnija filosofines idėjas, perimtas iš Permainų kanono bei daoistų tekstų. Toliau nagrinėsime, kaip daoistinės idėjos perteikiamos pasitelkiant originalius perspektyvinius sprendimus bei meninės išraiškos priemonėmis: linija, šviesa, šešėliais. Esminiai žodžiai: daoizmas, kinų estetika, peizažas, ikonografija, perspektyva, linija.

ENThe author deals with Daoist ideas in Chinese landscape painting, shows how they are expressed through the most important iconographic elements, such as mountain, water, mist, bomboo, lonely wanderer etc. The author argues that through such elements as mountain and water (or mist) painters recorded the most important Chinese philosophical worldview, which we will find in the famous Book of Changes and main texts of Daoism: the mountains represent the power of yang, the water or mist represents ying, and their interaction embodies the eternal interaction of those oppositions. The har monic balance between mountain and water as well as the Chinese name for landscape (Shanshui) is a directive to harmony of opposition, which was one of the main goals of Daoist thought. Then the author shows how the basic ideas of Daoism were conveyed through perspective, lines, light, shadow etc. The author also points out the differences in Western and Chinese understanding of perspective and investigates how it makes Chinese painting unique and so closely connected with main philosophical ideas, most of all - with the Great Dao, which is inherent in all visible world. Keywords: Daoism, Chinese aesthetic, landscape, iconography, perspective, line.