The Ultimate Concern Of The Traditional Chinese Landscape Painting

The traditional Chinese landscape painting is an important category of Chinese paintings. It had an embryonic in the Wei-Jin period, and gradually matured in Tang and Five Dynasties period. It always occupies an important place in academy paintings and literati paintings. I think the real origin of the liveliness in the traditional Chinese landscape painting is"ultimate concern". The"ultimate concern"is the basic value and the main pursuit in creation and appreciation of the traditional Chinese landscape painting.Chapter 1 discussed the Tao is the ultimate concern in the traditional Chinese landscape painting. The concept and the connotation of"ultimate concern"was brought forward by Paul Tillich, he explained the"ultimate concern"from the point of religion theology. He argued that faith is the state of being ultimately concerned and God is the symbol of the"ultimate concern". The"ultimate concern"is different from ordinary concern and it is the depth of life by one person. I think that the Tao of Laozi and zhuangzi is the symbol of the ultimate concern. Tao is the core spirit of ultimate concern in the Chinese landscape painting. Chapter 2 discussed that how the painter can describe"ultimate concern"through the creation. Chapter 3 discussed that the audience want to go after the Tao through the Chinese landscape painting. The ultimate concern is the idea which people can get from the Chinese landscape painting. With the Chinese landscape painting, people can back to the nature and forget the social business, and it looks like a home mind of which people feel peace and free.To conclude, the ultimate concern is the most important value in the traditional Chinese landscape painting. From the visual angle of ultimate concern, we can see a new spirit and a new interpretation in the traditional Chinese landscape painting. The point reveals the essence value of the traditional Chinese landscape painting. This is the innovation of my paper.