The Expression Of Time And Space Of Chinese Landscape Painting In Image Art

Due to the differences between the Chinese and Western views of nature and the principle of focal perspective of the camera,there have always been conflicts and contradictions between the spirit of traditional Chinese landscape and the medium of video since the beginning.While Chinese landscape painting represents a central expression of the traditional Chinese landscape spirit,painting and video also belong to the art of the image.Therefore,many artists have been trying to find a way to connect landscape painting with the video medium from the perspective of the iconography of landscape painting since the introduction of photography into China,which has brought about a series of issues regarding the boundary between painting and the video medium.However,from a different perspective,the image is similar to Chinese landscape painting as it is also an art of space and time.The spatial and temporal core of Chinese landscape painting has various connections with the Zen view of space and time.Under such a spatial and temporal influence,the cosmic and ancient sense of time and space in traditional Chinese landscape painting becomes one of the reasons for the fascination of landscape painting.Therefore,this paper examines the possibility of introducing time and space in landscape painting into the video medium from the perspective of temporal and spatial shaping in landscape painting.It is concluded that Chinese landscape painting should not fall into the boundary between the medium of painting and video,rather it should return to the view of time and space of Chinese landscape painting.Moreover,the nature of the image medium is approached for representation.In addition,based on my personal experience in the creation of landscape images,I have drawn up a rule of creation that is committed to the current feeling in the early stages and to the nature of the image in the later stages.This paper presents the research in three parts: The first chapter mainly discusses three aspects of the contradictions in the shaping of Chinese landscape painting through time and space in relation to the traditional medium of video.The first section addresses the differences and conflicts between Chinese and Western views of nature.Furthermore,it explores the contradiction between the working principle of the camera and the traditional Chinese view of nature as "the unity of nature and human".From a philosophical perspective,the initial contradiction between the spirit of landscape and the video medium is explored.The second and third sections consider how Chinese landscape painting creates time and space through both image and ink.In addition,a comparison of the process of image creation is made in order to present the conflict between Chinese landscape painting and the image in the creative process.Given the contradictions and conflicts between the spatial and temporal shaping of Chinese landscape painting and the video medium presented in the first chapter,the second chapter begins with the creation of landscape photography when photography was first introduced to China.Taking Lang Jinshan’s landscape photography as a case study,the second chapter analyses the attempts of Chinese artists to introduce landscape art to the video medium for the first time.Meanwhile,it addresses the problems that arise from the shaping of landscape in time and space.The third section proceeds to discuss the development of landscape photography in the digital era.It takes Yang Yongliang’s digital landscape photography as a case study of a new way of creating landscape art,and discusses the shaping of time and space in his work that differs from that of Lang Jinshan.There are significant differences between the works of Yang Yongliang and Lang Jinshan.Nevertheless,they both approach the creation of landscape video art from different perspectives and from the iconography of Chinese landscape painting.Hence,I return to the spatial and temporal view of Chinese landscape painting from the spatial and temporal shaping of landscape painting in the third chapter.As a result,I take Shao Wenhuan as a case study of creating landscape video art in the context of image nature by neglecting the boundary between painting and video.Then I combine it with my own experience of creating landscape video to discuss it in detail.