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Landscape of the Soul Summary in English |
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Landscape of the Soul Summary in English
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Landscape of the Soul Summary in English
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The author compares Chinese art to European art using two stories. The Tang Emperor Xuanzong commissioned the painter Wu Daozi to decorate the wall of a palace. When this was done the emperor praised the scene. The painter drew the emperor's attention to a cave and when he clapped, the door of the cave opened. The painter entered, but before the emperor could move on, the entrance was closed and the painting, including the artist, disappeared.
In another story, a painter would not draw the eye of the dragon he painted for fear that it would fall out of the painting. The author then cites a story representative of Western painting in which Quinton Métis, a master blacksmith, fell in love with a painter's daughter. Quinton painted a fly on the painter's latest panel to be accepted as son-in-law. When the painter tried to overcome it he realized the truth - Quinton was taken as an apprentice and married his girlfriend.
These stories reveal what each form tries to achieve. Europeans want a complete illusory equality whereas in Asia it is the essence of inner life and spirit. In Chinese story only the artist knows the way within and reaches his goal beyond the physical. Unlike a Western figurative painting a classical Chinese landscape does not reproduce a real scene and one can enter and travel through it from any point. It requires the active participation of the viewer, both physically and mentally. Man becomes the medium of communication or the 'eye of the landscape'.
Landscape of the Soul Summary in Hindi
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लेखक ने दो कहानियों का उपयोग करते हुए चीनी कला की यूरोपीय कला से तुलना की है। तांग सम्राट जुआनजोंग ने एक महल की दीवार को सजाने के लिए चित्रकार वू दाओजी को नियुक्त किया था। जब यह किया गया तो सम्राट ने दृश्य की प्रशंसा की। चित्रकार ने सम्राट का ध्यान एक गुफा की ओर खींचा और जब उसने ताली बजाई तो गुफा का द्वार खुल गया। चित्रकार ने प्रवेश किया, लेकिन इससे पहले कि सम्राट आगे बढ़ पाता, प्रवेश द्वार बंद हो गया और कलाकार सहित पेंटिंग गायब हो गई।
एक अन्य कहानी में, एक चित्रकार उस ड्रैगन की आंख नहीं खींचेगा जिसे उसने इस डर से चित्रित किया था कि वह पेंटिंग से बाहर निकल जाएगा। लेखक तब पश्चिमी चित्रकला के एक कहानी प्रतिनिधि का हवाला देता है जिसमें एक मास्टर लोहार क्विंटन मेट्सिस को एक चित्रकार की बेटी से प्यार हो गया। दामाद के रूप में स्वीकार किए जाने के लिए क्विंटन ने चित्रकार के नवीनतम पैनल पर एक मक्खी को चित्रित किया। जब चित्रकार ने इसे दूर करने की कोशिश की तो उसे सच्चाई का एहसास हुआ - क्विंटन को एक प्रशिक्षु के रूप में लिया गया और उसने अपनी प्रेमिका से शादी कर ली।
इन कहानियों से पता चलता है कि प्रत्येक रूप क्या हासिल करने की कोशिश करता है। यूरोपीय लोग एक पूर्ण भ्रमपूर्ण समानता चाहते हैं जबकि एशिया में यह आंतरिक जीवन और आत्मा का सार है। चीनी कहानी में केवल कलाकार ही भीतर का रास्ता जानता है और वह भौतिक रूप से परे अपने लक्ष्य तक पहुँचता है। एक पश्चिमी आलंकारिक पेंटिंग के विपरीत एक शास्त्रीय चीनी परिदृश्य एक वास्तविक दृश्य को पुन: पेश नहीं करता है और कोई भी इसे किसी भी बिंदु से दर्ज कर सकता है और इसमें यात्रा कर सकता है। इसमें शारीरिक और मानसिक दोनों रूप से दर्शक की सक्रिय भागीदारी की आवश्यकता होती है। मनुष्य संचार का माध्यम या 'परिदृश्य की आँख' बन जाता है।
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