A Perfect Harmony Of Implication And Images

Traditional Chinese Painting, based on the traditional agricultural civilization and the philosophy of Confucianism, Buddhism and Taoism, is considered as a unique "implication-image" painting and a unity of rationality and irrationality, imitation and expression, regulation and irregularity, external observation and internal experience. The sutra painting of Tang Dynasty as an essential part of originally created in an attempt to publicize the Buddhist doctrine, is characteristic of both Chinese traditional culture and the artistic essence of Chinese Painting namely a perfect harmony of implication and images.In the relationship between implication and images, implication not only reflect Chinese culture and spirit, but also reach agreement with "the spirit of dancing accompanied by music" of Chinese art because it exists in an abstract, objective and indistinctive form of "graceful dance movements", "a state of life generated by breath" and "the spirit of Taoism". This can be sensed through experience and perception. Images refer to the specific shape-making means of producing implication which is dependent with the visible shape. Therefore, implication and images are always complementary to each other in Chinese Painting. The sutra painting, as a whole body with two poles, consists of "the dance-music spirit" and "the realistic genes" which coexist with each other. The former in the sutra painting consisting of irrational, expressive, inner spiritual elements and composition, the later ,standing for imitating, realistic, natural and external objective elements, is created in the all the visible images except abstract signals in the sutra painting.In the view of this, the thesis, starting with a brief introduction to the sutra painting of Tang Dynasty, makes an exploration of "the dance-music spirit" and "the realistic genes" in the sutra painting using "implication" and "images" in Chinese painting as reference, drawing a conclusion that the "the dance-music spirit" and "the realistic genes" in the sutra painting of Tang Dynasty are actually "implication and images" respectively, reflecting the universal idea and the way of thinking of "the same body with two poles".