A Research Into The Image Shaping Of Chinese Painting By Way Of Metaphisics

This thesis is a research of the sources of image shaping in Chinese painting. This question is in essence one that exists on a "metaphysical" level. A quote from "I Ching"(Book of Change) says "the metaphysical is referred to as Dao". Therefore, the sources of image shaping in Chinese painting are both related with the classical philosophies of "Dao" as well as subjects related to Dao. It is on this aspect that this thesis is a research of Chinese painting theories in a "philosophical" perspective.The thesis starts with the question of image shaping in Chinese painting. Image shaping had always been a focal point in Chinese painting, as well as a weak point. I will begin from "image" and "image shaping", and trace back to the original existence of "Dao" in image shaping in Chinese painting, therefore to excavate the ultimate question of "where" image shaping in Chinese painting came from. In this way it may offer an original structure and methodology for the further study of image shaping in Chinese painting.This thesis raises the question of the nature of image shaping, which is based on the following puzzle:what had brought about the theory of "unison of the subjective and the objective" which is also often referred to as "unison of universe and inner world" in Chinese painting? With references to "monism" and "dichotomy", as well as the duality in Chinese and Western definitions of "dichotomy", we encounter the obstacle in perceiving the "unison of universe and inner world" in Chinese painting, and the question therefore arises. The "unison of universe and inner world" in Chinese painting is not an isolated topic; instead, this notion is at one with a vast philosophical backdrop which supports the theories of Chinese painting. As we make analysis of the nature of Chinese painting in terms of "objective source","inner source","Dao source" and "Qi source" individually, we are able to construct a "trinity of Dao" by looking into the concepts of "knowledge through external perception" and "knowledge through inner perception" in Chinese philosophy. This theory of "trinity of Dao" is a tailored philosophy for Chinese painting with which we can understand its nature, principles and practice manners. Through this metaphysical structure, not only can we know where the concept "unison of universe and inner world" comes from, we are also able to visualize the origin and structure of Chinese painting. We find, that the nature of image shaping of Chinese painting is not just made up of "the subjective and the objective", but of the three "sources" that are "Dao, the inner world, the universe". Many long-debated topics in history involving theories of Chinese painting can all be solved within this trinity. It can not only solve the conflicts between "the objective and the subjective", but also can embrace the concept of "dichotomy". The conclusion that "unison of universe and inner world" can only be achieved when there is "unison of universe and man", or vice versa, is merely an individual question.This thesis studies the nature of image shaping in Chinese painting. It not only promotes the study of noumenon of image shaping itself, but also is crucial in building the definition of "Dao in Chinese painting". The unique "metaphysical aspect" of image shaping in Chinese painting and its comparison to other styles of painting gives birth to a special terminology "Dao in Chinese painting". The "metaphysical" contents in Chinese painting surpass that of the techniques."Technique" is a method which follows a from-bottom-to-top route, whereas Chinese painting elevates itself to a height through the "metaphysics" of its "image shaping". Though Chinese painting applies "technique", it is essentially different from the "technique-orientated" method. It is essentially different because whilst attaching great importance to technique, Chinese painting attaches more significance to the "image" of the "metaphysical". Image shaping in Chinese painting is closely associated with the realms of "Dao"; otherwise, Chinese painting would not have been referred to as "Dao in Chinese painting". The establishment of trinity of Dao will finally give "Dao in Chinese painting" its rightful definition in Chinese painting history.