Several generations later, in Zhao Mengfu’s “Twin Pines, Level Distance,” something new appears. No more realism; no more romanticism; in a sense, no more painting. Now the landscape image is an extension of writing, a form of embodied thought, an essence of landscapeness, a text to be read. In the contemporary West we have a term for this: conceptual art.
With Asia Week in New York the NYT has a review of a show called “Anatomy of a Masterpiece: How to Read Chinese Paintings” There is a slide-show too! It looks like a nice show and a good book. Given some of the interest in connecting Chinese art to western traditions in the last post and the comments I thought I would post this.