Kínai tájképfestészet európai szemmel - Horváth Iván - kisműterem - Kisműterem

Iván Horváth - Chinese Landscape Painting through European Eyes - Small Studio

In Chinese landscape painting, it is the mountains and the waters that are important, it is not the man or the man-made object that is present, it is the monochrome colours and the fact that the landscape depicted is only a figment of the imagination, not real. In China, the mountains and the waters have always been highly valued, a fact that can be linked to the fact that the people who lived there, who practised irrigated farming, depended on the valleys and the rivers that flowed through them for their daily bread. The Chinese name for the landscape is shanshui, meaning mountain water. Without mountains and water, the Chinese landscape is almost unimaginable. Mountains are the embodiment of eternity, of the universe. The tranquillity and timelessness of the mountain contrasts with the eternal movement of water, with its transience. Formally, this vertical and horizontal contrast gives the landscape its harmony and dynamism. The relationship of the Chinese to nature was of crucial importance for the development of Chinese landscape painting. Immersion in nature helped people to find themselves and their inner world. Landscape painting was the most suitable medium for this, and over time it became the dominant genre of Chinese painting. In the 7th and 10th centuries, for example, there was hardly a landscape painting that did not show mountain ranges disappearing into the distance. In the foreground, we usually see a pine tree and a few small human figures. The Chinese picturists have preserved the mosaic method of image-making to the present day. The Chinese painters were not interested in details and shapes, but in the

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