Great Universe In Landscape—on Temporal And Spatial Structure Of Landscape Painting And Explicitation Of Landscape World Outlook

This paper tries to weave an intricate network with the temporal and spatial structure of the landscape painting and to induce readers to the verge of confusion. As is known to all, the ancient Chinese painting has intervened the reality through structural design rather than an interpretative description or a judgmental prescription of the world.This paper tries to unleash the potential permeating the temporal and spatial structure of the landscape painting to create a difference, which corresponds to Deleuze and Guattari’s deterritorization, a resistance to the general practice—an inclination to make distinguished appraisal of the East and the West and to refuse any progresses when there are no other choices. Everything exists and agglomerates in an underlying way and powerfully breaks its own limit, thus obtaining a global expansiveness to be shared by all humanities. The reflection on the past triggers an electric current to the future and it is the current that activates and constructs every transient act in history.The landscape image, struggling out of the original framework, is marching forward along the course of history. Its creativity seeks further expression and reverberation amidst the evolvement, creating an explicitation of the landscape world outlook. Such expression and reverberation forms some fragments and fault blocks with different lengths: ‘catastrophe’, ‘void’, ‘a line of escape’, ‘anti‐perspective clouds’, ‘frame’ and ‘landscape’. As a result, the branches are sprawling in all directions, causing a large multiply of details and fault blocks. Although the fragments are inter‐derivative and inter‐referent, they don’t exist in or depend on a certain derivative process.These fragments and fault blocks pervade, initiate, structure, disperse and reconstruct the painting image, directing their power towards a combined plane or an unlimited energy domain by capturing history in dribs and drabs. The first chapter ‘catastrophe’ regards the twisted landscape as a flout to the traditional conventions; the second chapter ‘void’ focuses on the white space with multiple interpretations in the landscape painting, which is created by the devouring of spatial rationality by partial hallucination and the exclusion of continuum sensitivity to the object; the third chapter ‘a line of escape’ tells how the landscape resists the rigid system, breaks free from the defined scope and range and creates new evolvements by adopting ways that is consistent with the nature and beneficial to all under heaven; the fourth chapter ‘anti‐perspective clouds’ tells the perspective in which the visual right reappears, the corresponding anti‐perspective clouds which attempt to dispel this controlling force and the tense produced between these two; the ‘frame’ chapter, as the node connecting the painting and the condensed moment, drawing the viewer’s attention to communicate with the external world and participate in the internal operation; the last chapter ‘landscape’ tries to review the collusion between history and landscape as well as the explicitation of the landscape world outlook.