Road Mimetic Environment

Since the very beginning of its development, Chinese Landscape painting has been influenced by the traditional Taoist principles and this influence has lasted more than one thousand of years without evolving any significant change. To some extent, the traditional Chinese Taoist principles have infused the innate spirit into Chinese Landscape painting. This article aims at researching and revealing the intricate relationships between the Taoist principles and the internalized aesthetic value embedded in Chinese Landscape painting in order to draw an encompassing and objective conclusion.In terms of the structure, through both of the diachronic and synchronic perspectives, this article discusses the relation between the traditional Taoist principles and the Chinese Landscape painting. The diachronic perspective aims at a study of the evolving history of Chinese Landscape painting and of the influences that the principles of Taoism, Chan and Confucianism had exerted on Chinese Landscape painting. By doing so, we can find out the origin of Taoism's significant influence on the innate aesthetic spirit of Chinese Landscape painting and the other influences from the principles of Chan and Confucianism as a supplementary to finalize the theoretic foundation of the aestheticism of Chinese Landscape painting. At the same time, these influences from different schools of philosophies explain the subtle change of style in the evolving history of Chinese Landscape painting. Through the perspective of the simultaneous time, we treat the traditional Taoist principles as an integrated structure, and make a well-rounded analysis of their influences on the aestheticism of Chinese Landscape painting.In terms of the content, this article attempts to articulate the relation between the traditional Taoism and Chinese Landscape painting through a combined ways that Chinese Landscape painting not only embodies the intrinsic worldview of Taoism and also provides the Shanshui painters with a medium to cultivate their ideas. The final conclusion is that mainly through the methods of synthetics and analysis, Chinese Landscape painting achieves its embodiment of Taoism. The way Chinese Landscape painting embodies Taoist principles is different from how Shanshui painters experience in the process of their artistic creation because the process is improvisational and the painters would not always manipulate what their paintings could actually turn out to be like. Even by coincidence, the works by Shanshui painters may resemble some features of Taoist principles just like what people would assume Chinese Landscape paintings should contain and embody.