An Article " A Theoretical Introduction to Landscape Painting in Chinese Art (Part One) "By Assist. Prof. Dr. Majid Hamid Hassoun

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Throughout their history, the Chinese became known for depicting landscapes, and their art derived its unity from this inclination, as well as from the way in which the artist confronted the visible world and processed it artistically in a manner characterized by continuity and consistency. Thus, the artistic experience came out well-structured and cohesive, rooted in a deep and ongoing heritage. The Chinese painter did not reject the old in favor of the new; rather, he lived the experience of his predecessors to emerge with a new concept of the world.<br /><br />Chinese civilization is fundamentally agricultural and religious. Religious and political celebrations were tied to agricultural festivals, such as the celebration of the earth’s fertility and the cycle of the seasons. The reverence that the Chinese hold for the forces of nature formed the foundation upon which landscape painting was established. Hence, their relationship with nature was primarily spiritual. When Buddhism emerged, it greatly deepened this outlook, as it taught that human beings and nature are one in the flow of life, its transformations, and its unity.<br /><br />From this perspective, Chinese landscape painting came to reflect the union of human subjectivity with nature, highlighting the profound significance of contemplation within this form of religious philosophy. These spiritual beliefs gave rise to a poetic art described as a fleeting ecstasy that dies if prolonged, and as a subtle inspiration aiming to reveal the hidden aspects of things. Consequently, artistic works of landscapes carried these same poetic concepts—blending with nature and uncovering the spirit that permeates its features.<br /><br />Thus, it becomes evident that the artist did not confront nature as a mere material reality before his eyes but approached and treated it artistically in a spiritual and sensory way rather than a physical one. For the Chinese painter, dealing with landscapes aimed more at suggestion and evocation than at mere description.<br /><br />Almustaqbal University, The First University in Iraq.