Spiritualism in Chinese Art

Two main streams of Chinese philosophy flourished in the late Zhou period of Chinese history. In 551 BCE, Confucius was born. Predating Confucianism, Chinese mysticism was spreading into mountain hillsides, where poets lived ascetic lives. Around 300 BCE, they came together in expressing themselves, inwhat is thought to be a group writing, producing the Dao De Jing.

The work entitled the Analects is a collection of the teachings of Confucius written by his students. Confucian teachings emphasize harmonious existence within society, with the focus on the family ethic and morality. Daoism stresses the way of being, the way of life, and focuses on the metaphysical. The Dao originates from a place so profound that words cannot express its meaning. Popular subjects of Confucian art are filial relationships, nature, piety and admonitions, while Daoist works contain mystical or fantastic qualities transcending the here and now. Colors expressing Confucian sobriety include red, creamy white, and black, with occasional traces of blue and pale green. These give an effect of austerity.

To the influence of calligraphic discipline and of the lyric mode was added the emphasis of Daoism and Chan (Japanese: Zen) Buddhism on intuitive response to nature. Yan Hui painted Buddhist priests or disciples and Daoist sages emphasizing their strange, gnarled, and rude aspects. A Confucian scene, on the other hand, would be of a worthy man famous for refusing the throne and high office, maintaining his place in the orderly society. The Confucian iconography was meant to be seen at a distance in a somewhat formal setting. Although the authorship of the Dao De Jing remains unknown, it is speculated that late in the third century BCE, ascetic recluses in the remote valleys put the stories together. There is a legend that one Laozi did exist; however, there is no certainty. It is said that Confucius said of one Laozi: "But dragons! I shall never know how they ride wind and cloud up into the sky. Today I saw Laozi. What a dragon! In the Dao De Jing, verse 25, it is said: "Something there is whose veiled creation was before the earth and sky began to be, so silent, so aloof, and so alone. It changes not, nor fails, but touches all." This idea may have some influence on how and why negative space plays such a part with the unity, or oneness, or ultimate reality that seems to unify and transform beings into other forms in Daoist subjects.

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