Pittura di paesaggio, Giardini nell'Antica Cina, Yin e Yang (ediz agg 2020) (original) (raw)

Piante e rocce in vaso. Il penjing in un dipinto della dinastia Ming

Sulla Via del Catai, 2020

The article examines the twelve depictions of penjing, ‘pot sceneries’, in a hand-scroll by the Ming dynasty Suzhou painter Zhou Zhimian (active late 16th-early 17th century). The first part of the article offers some background information on the figure of Zhou Zhimian, the artistic tradition to which he belonged and the particular painting technique he used in the depic- tions of plants and flowers. The second part anal- yses the subjects portrayed in the hand-scroll, endeavouring to recognise the plant species and their other constitutive elements, making a comparison with those prescribed in Ming treatises and used in the modern practice of penjing. The conclusion discusses the peculiarities of this painting and its relevance for the study of the history of penjing in China.

Il "paesaggio vero" nel Bifa ji di Jing Hao

Tutti i diritti riservati. Stampato presso Digital Print Service S.r.l. -Segrate, Milano Dicembre 2007 MAURIZIO PAOLILLO IL "PAESAGGIO VERO" NEL BIFA JI DI JING HAO In pittura, maggiore meraviglia può dirsi il paesaggio […]. Jing Hao, nell'eseguire un dipinto, descrive mille li 1 .

Arianna Magnani 2023. “L’arte cinese delle pietre paesaggistiche: quando la natura ritrae se stessa”, in MARMORA et LAPIDEA 4-2023, ISSN 2724-4229 (online), pp.177-205.

L’arte cinese delle pietre paesaggistiche: quando la natura ritrae se stessa, 2023

Some types of marble and limestone, once crafted, resemble natural landscape drawings. In the past, this phenomenon was viewed as an autonomous artistic creation of nature, and this idea was common among various cultures from the West to the East. The cases of landscape stones in Europe and shi hua 石画 in China demonstrate that, despite similarities, different religious, philosophical, and historical contexts have shaped these two artistic forms uniquely. Focusing on Chinese landscape stones, the article explores their origins, development, and a partial overview of the Chinese terms associated with them.

F.PIZZONI, I giardini di Mien Ruys, AdP 33, 2016.pdf

I giardini di Mien Ruys. Un’avventura professionale tra sperimentazione e innovazione. In questo breve articolo, si ripercorre la carriera della progettista olandese di giardini che con la sua opera ha influenzato moltissimo il disegno dei giardini europeo del 900.

Lo spazio del giardino cinese tradizionale come microcosmo e segno culturale

Sinosfere (https://sinosfere.com/), 2023

The microcosmic nature of the restricted space of the garden, understood as a significant reproduction in small scale of natural space, is an aspect already evident in the large reserves (you 囿) of the feudal princes of the Warring States and the early imperial period. The peculiar interpretation of space in the Chinese cultural tradition undoubtedly owes much to the evolution of the tradition of Daoism: the elements that refer to the correspondence between Macrocosm and Microcosm, so typical in the various Daoist currents, seem in fact to have been well established among the elite of the early Qin empire (221-206 BC). In the Tang era, the ideal of retreat into a private natural world began to assert itself. This vision would later find its full expression with the veritable garden of the literati, starting with the Northern Song 北宋 (960-1127). Subsequently, the microcosmic space of the garden assumed the value of 'sign', which could only receive full appreciation from those who shared the same cultural language as its owner.

Pittura, soggettività e storia. Forme estetiche e attraversamenti ermeneutici fra Cina ed Europa, in «Rivista di Estetica», 72, 3/2019, Rosenberg & Sellier, Torino, ISSN 0035-6212, pp. 33-50.

The introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non self ” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi.