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Title: De xin ying shou = Heart and hand in accord ; and, Zhou you dong xi = Travelling round the east and west : an investigation of the Chinese culturo-philosophical thoughts (xin [heart]) and an examination of the principles of Chinese painting (shou [hand]) which also serve as a basis to look into Chinese landscape painting (dong [east]) and European female-nude painting (xi [west]) and to compare specifically two landscapes of Zhang Daqian with two female nudes of Pablo Picasso
Author: Chew, Kim Liong
ISNI:       0000 0001 3543 507X
Awarding Body: Goldsmiths, University of London
Current Institution: Goldsmiths College (University of London)
Date of Award: 1997
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The research was carried out in two parts. Part I investigated the Chinese culturophilosophical thoughts (Xin [Heart])-exploring the Chinese cultural thought through the Chinese brush and the Principle of Yin Yang [Negative-Positive], and surveying the Chinese philosophical thought through the doctrines and concepts of Taoism, Confucianism and Chan-ism [Zen Buddhism]. It then examined the principles of Chinese painting (Shou [Hand])-probing into Xie He's Liu Fa [The Six Canons], their reinterpretation and modification, and Shitao's Principle of Yihua [One-Stroke]. (The translation of early Chinese philosophical texts and painting treatises in Part I is a secondary contribution of the thesis. ) Using Part I as a basis, Part 11 looked into the Chinese landscape painting (Dong [East]) and European female-nude painting (Xi [West])-an art historical analysis leading to a discussion of the landscapes of Zhang Daqian (1899-1983) and female nudes of Pablo Picasso (1881-1973). It finally dealt with the comparison of Zhang's landscapes and Picasso's female nudes-a comparative scrutiny of two landscapes of Zhang and two female nudes of Picasso. (The comparison is one of the pioneer contributions to the area of comparative inquiry into twentieth-century Chinese painting and European painting. ) The result of the whole research is now presented by this thesis-divided into an introduction, eight chapters and a conclusion. The findings: (1) made clear the previously obscure and ambiguous ideas of the traditional Chinese aesthetics embodied in Chinese painting; (2) showed that both the Chinese culturo-philosophical thoughts and traditional painting principles continue to be revealed in Zhang's paintings; (3) verified that the paintings of Zhang and Picasso share many interesting common points of reference; and (4) offered a reassessment of Zhang's landscapes, and a fresh look at Picasso's female nudes from a cross-cultural perspective.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available
Keywords: Chinese cultural thought; Chinese paintings