Class XI English

Hornbill
Landscape of the Soul
Notes & Video Link

INTRODUCTION
Written by Nathalie Trouveroy, the chapter consists of two parts. The first part is an excerpt from
‗Landscape of the soul: Ethics and Spirituality in Chinese Painting‘. It deals with the art of
painting. It is a comparative study about how different the Chinese Art form is from the
European Art form. The writer presents two anecdotes about Chinese art and one about European
art to draw a contrast between the two. The Europeans want a perfect likeness, whereas in Asia,
art is the essence of life and spirit. Chinese art requires the active participation of the viewer both
physically and mentally to understand it. The first part also talks about Daoism and how one of
the philosophical doctrines of Daoism called ‗Shanshui‘ is reflected in Chinese paintings.The
second part of the chapter is from an article published in Hindustan Times -Getting Inside
‗Outsider Art‘, written by Brinda Suri.

CHARACTERS

 Wu Daozi: The eighth century Chinese landscape painter who disappeared inside his last
painting.
 Emperor Xuanzong: The Chinese Emperor who admired Wu Daozi‘s painting but was not
an active participant in it.
 Quinten Metsys: A fifteenth century Belgian blacksmith who changed his profession to
become a delicate realist painter and marry the woman he loved.

EXPLANATION
Anecdote about Chinese Painter Wu Daozi
 Wu Daozi, a famous eighth century Chinese painter, had been commissioned by the Tang
Emperor Xuanzong, to paint a landscape in order to decorate a palace wall. When the
painting was ready, the Emperor was invited to appreciate it.
 The master had hidden his work behind a screen, only for the emperor to see. He had created
a beautiful scene with forests, high mountains, waterfalls, clouds, men on hilly paths, birds
in flight and a cave situated at the foot of a mountain where a spirit resided.
 As the painter was showing the painting to the admiring emperor, he offered to show the
emperor the way to the splendid interior of the cave. He clapped his hands and the entrance
to the cave opened. The painter got in but the entrance closed behind him and both the
painting as well as the painter vanished.
 There is another story about a Chinese painter who refused to draw the eye of a dragon he
had painted as it had such frightening likeness of an actual dragon that he feared it would fly
out of the painting.

Meaning of the Tales

 Chinese paintings are based on the philosophy of Daoism. Dao means ―path or way‖- the
way into the mystery of the universe. The Emperor may rule over territories, but the artist
alone knows the way within.
 The disappearance of the painting from the wall signifies the artist‘s knowledge of the
spiritual inner world. Only the master or the artist knows the way within and can go beyond
any material appearance Life has no meaning unless we undertake the inner, spiritual
journey.
 Such stories played an important part in China‘s traditional education. Not only did they
help the master to guide his disciple in the right direction, but they also revealed the spirit in
which art was considered. It was through such stories that great masters made abstract
concepts concrete.

Anecdote about European Painter Quinten Metsys

 The writer then compares the above stories to an old story from Flanders, a region in
Belgium in Europe. The story was set in the fifteenth century Antwerp.
 A master blacksmith called Quinten Metsys fell in love with a painter‘s daughter whose
father would not accept him as his son-in-law due to his profession.
 Quinten secretly entered the painter‘s studio and painted such a realistic fly on the panel that
the painter tried to swat it away, was impressed and agreed to marry his daughter to the
blacksmith.
 Quinten Metsys signified ‗illusionistic likeness‘ in European painting and soon became
famous for his ‗realism‘ in painting.

Comparison between European and Chinese Art

 The author draws a comparison between Chinese and European styles of paintings.
 A classical Chinese landscape is not meant to reproduce an actual view as would a western
figurative painting.
 The European painter wants us to look at a particular landscape as he saw it from a specific
angle as his aim is perfect illusionistic likeness.
 The Chinese painter, on the other hand, does not choose a single viewpoint. His landscape is
not a real one and one can enter it from any given point and travel in it in a leisurely
movement.
 This is like in the case of the horizontal scroll. One slowly opens one section of the painting,
then rolls it up and moves on to the other. This adds a dimension of time to it. It also
involves an active physical as well as mental participation of the viewer.
 The Chinese painter does not want you to borrow his eyes. He wants you to enter his mind.
The Chinese landscape is a spiritual and conceptual space. In Asia, the stress is on the
essence of inner life and spirit.

The Concept of Daoism and the Chinese Philosophy of Shanshui

 According to Daoism, this universe is composed of two complementary poles, viz. Yin
(feminine) and Yang (masculine). The interaction of these two energies makes the universe.
Their meeting point, called the ―Middle Void‖ also holds great significance, though it is
often overlooked.
 This can be compared with the yogic practice of pranayama; breathe in, retain, breathe out –
the ‗retain‘ part is the ―Middle Void‖ where meditation occurs. This void is essential –
nothing can happen without it.
 In Daoism, a landscape is called ―Shanshui‖ (Shan = mountain, Shui = water); however, it
doesn‘t represent a real landscape; it is the Daoist view of the universe. To understand
Chinese paintings, one must understand Daoism.
 So, the mountains and water in the Chinese paintings are representative of Shanshui and the
white, unpainted space is representative of the Middle Void where the interaction between
Yin and Yang takes place.
 Man is the medium of communication between the two complementary poles of the universe
and you can see his presence too in the Chinese paintings.

The Concept of Art Brut

 In the second part of the chapter, the author writes about the concept of ‗art brut‘, which
means the art of those who have ‗no right‘ to be artists as they haven‘t got any formal
training, yet show talent and artistic insight.
 The works of the artists who think out of the box are totally different from those of their
predecessors. In simple terminology this art can be called ‗unorthodox art‘.
 In 1940s, Jean Dubuffet, a French painter, first created the concept of ‗art brut‘ or ‗raw art‘.
The ‗outsider art ‘has gradually become the fastest growing area of interest in international
modern art.
 Around the time Dubuffet was propounding this concept of ‗art brut‘ or ‗raw art‘, in India,
an untutored genius, Nek Chand, was making contribution to ‗outsider art‘. His creation of
changing a patch of jungle in Chandigarh into a garden sculpted with stone and recycled
material, such as broken bangles, is an example of art brut. Nek Chand is now hailed as
India‘s biggest contributor to outside art.

SYNOPSIS

 Chinese paintings are abstract in nature as they can‘t be defined and have to be felt or
experienced.
 In contrast, there is illusionistic likeness in European paintings.
 Their contrasting nature is explained through the anecdotes about a Chinese Painter Wu
Daozi, who disappeared inside his painting.
 Another Chinese painter who did not want to paint the eyes of the dragon for fear that the
dragon may attack him on seeing him.
 Anecdote about a European painter Quinten Metsys, who painted a realistic fly to marry the
woman he loved.
 Chinese paintings are based on the philosophy of Daoism, which says that life has no
meaning unless we undertake the inner, spiritual journey.
 Chinese painters want the viewers‘ active participation, not only physical but also mental,
while viewing their paintings.
 According to Daoism, the interaction of two complementary poles, Yin (feminine) and Yang
(masculine) makes the universe.
 Man is the medium of communication between the two complementary poles, i.e, their
meeting point, and you can see his presence too in Chinese paintings.

VOCABULARY
Dwells – live; stay
Splendid – very impressive
Astonished – greatly surprised or impressed
Disciple – a follower or a pupil of a leader or a teacher
Anecdote – a short interesting story of a real person
Flanders – a medieval country in Western Europe
Antwerp – a city of northern Belgium
Delicate Realism – the quality of art that makes it seem real
Swat – hit or crush something
Apprentice – trainee; learner
Illusionistic Likeness – an illusion created which resembles something
Figurative painting – metaphoric representation of an art
Leisurely – unhurried or relaxed
Conceptual Space – relation with an abstract representation
Daoism – a Chinese philosophy based on the writings of Lao-Tzu
Void – empty; vacant
Conduit – channel; tube
Oppressed – burdened; worried
Lofty – tall or high

QUESTIONS AND ANSWERS

1. Contrast the Chinese view of art with the European view with examples.
Ans. The Chinese and the European arts are in direct contrast to each other and represent two
contrarian views of art. The Chinese form of art is based on imagination and shows inner and
spiritual approach of the artist, whereas the European art form is real and reproduces an actual
view of the object from the landscape. The paintings of the Chinese painter Wu Daozi and
European painter Quinten Metsys illustrate the difference.
2. Explain the concept of shanshui.
Ans. Shanshui is a Chinese concept of art which means ‗mountain water‘. It is a Chinese style of
painting that is used to represent ‗landscape‘, which is an inner one, a spiritual and conceptual
space. The two complementary poles (yin and yang) of an image reflect the Daoist view of the
Universe.
3. What do you understand by the terms ‗outsider art‘ and ‗art brut‘ or ‗raw art‘?
Ans. ‗Outsider Art‘ is the art made by untrained artists who have received no formal training yet
show a talent or artistic insight. ‗Art Brut‘ or ‗Raw Art‘ is a type of art made by people who are
not professionals but they create an art piece with their own depth and understanding and not
from the stereotypical form of classical or fashionable art. Their works are in a raw state as
regards cultural and artistic influences.
4. Who was the ―untutored genius who created a paradise‖ and what is the nature of his
contribution to art?
Ans. The ―Untutored genius who created a paradise‖ was Nek Chand. He was an eighty year old
creator – director who made the world famous Rock Garden in Chandigarh. His was ‗an outsider
art‘ in which he sculpted with stone and recycled materials. He used everything from a tin to sink
to a broken car or anything which he felt as an art form to form an artistic piece. One of his
famous creations is ‗Women by the Waterfall‘. Nek Chand‘s work is acknowledged as India‘s
biggest contribution to the outsider art.
5. Discuss ―The Emperor may rule over the territory he has conquered, but only the artist knows
the way within.‖
Ans. The statement explains the fact that even though the Emperor rules over an entire kingdom
and has the power over his conquered territory but the artist knows the path and mysterious work
of the universe. The artist can go beyond the materialistic appearance of objects. No matter how
powerful the Emperor is, the artist‘s true art form can be seen the way he wants to show them.
6. Discuss ―The landscape is an inner one, a spiritual and conceptual space.‖
Ans. The statement ‗The landscape is an inner one, a spiritual and conceptual space‘ means that a
Chinese artist wants the viewer to enter his mind rather than borrowing his eyes to view his art
piece. This requires both physical and mental participation. It is a landscape created by the artist
where a viewer can enter the painting from any point and travel from one point to another point.
The landscape is not a real one, but is an inner, spiritual and abstract space of the artist and can
be reached from any point.
7. How was Quinten able to marry the painter‘s daughter?

Ans. Quinten was a blacksmith who wanted to marry a painter‘s daughter. The painter did not
think he was a suitable match, as he was not an artist. However, one day Quinten slyly sneaked
into the painter‘s studio and painted a fly on his latest panel. The fly looked so real that the
painter tried to swat it. When he realised that Quinten had painted it, he was so impressed that he
allowed him to marry his daughter.

8. How was Nek Chand honoured?

Ans. Nek Chand was made the Director of his creation—‗The Rock Gardens‘. He was honoured
by the Swiss Commission of UNESCO by way of a European exposition of his works. There
were interactive shows ‗Realm of Nek Chand‘ held at leading museums in Switzerland, Belgium,
France and Italy.

9. Describe the wonderful tale about the Chinese painter Wu Daozi. What does the author mean
by giving it?

Ans. Wu Daozi was a famous painter of China of eighth century. His painting, ‗landscape‘, was
commissioned by the Tang Emperor Xuanzong to decorate the palace wall. Wu Daozi requested
the Emperor to look at the cave in the painting in which lived a spirit. The painter clapped his
hands. The cave opened and the painter entered it. But its door closed behind him. The painting
vanished from the wall. The artist was not seen thereafter nor any trace of his brush etc. By this
the author means to say that Chinese classical painting can be entered from any point. It is
actually the spiritual and conceptual space. The artist creates a path for the viewer‘s eye to enter
the landscape. He doesn‘t want the onlooker to borrow his eyes as happens in the case of
European painting.

10. How does the Chinese view of art differ from the European view? Illustrate.

Ans. The essential difference between Eastern and Western paintings is that the Eastern painting
is not factual; it does not represent an actual view as a Western figurative painting does. A
western figurative painting is meant to reproduce an actual view of the scene whereas a classical
Chinese landscape is based on an imaginative, inner or spiritual approach. The European
paintings are to be viewed from a specific angle and exactly the way the artist wants you to see
it. The Chinese art aims at achieving the essence of inner life and spirit while the European form
of art is trying to achieve a perfect illusionistic liking. The European painter wants the viewer to
borrow his eyes, and look at a particular exactly as he saw it, from a specific angle. On the other
hand, the Chinese painter does not choose a single view point. His landscape is not a real one. He
does not want the viewers to borrow his eyes. He wants the beholder to enter his mind. One can
enter a Chinese landscape from any point and move across leisurely and come back. The Chinese
view of art also requires an active participation of the viewer. This participation is both physical
and mental. The stories about the paintings of Wu Daozi and an old story from Flanders amply
illustrate the difference.

11. Write a note on the concept of Shanshui as given in the ‗Landscape of the Soul? Explain the
concept of Shanshui and the fundamental yogic practice.

Ans. The Chinese painters bring out the concept of Shanshui in their work. Shanshui literally
means ‗mountain and water‘, which used together represents ‗landscape‘. These represent two
complementary poles, reflecting the Daoist view of the universe. The ‗mountain‘ is Yang which
reaches vertically towards Heaven. It is stable, warm and dry in the sun. The ‗water‘ is Yin,
which is horizontal and rests on the earth. It is fluid, moist and cool. Yin is feminine and Yang is
masculine. The interaction between the two is the fundamental notion of Daoism. The third
element, called the ‗Middle Void‘, is often overlooked. But, it is essential as there takes place
their interaction. This can be compared with the Yogic practice of ‗pranayama‘. Nothing can
happen without this element. Man is the conduit of communication between Heaven and Earth.
He is actually ―the eye of the landscape

12. What was the revolutionary idea in art that was put forward by Jean Dubuffet? How did an
Indian artist support his theory?

Ans: Before the French painter Jean Dubuffet challenged the concept of ‗art brut‘ in the 1940s,
people were not interested in the art of the untutored creative thinkers. It was he who defied this
concept. As a consequence this ‗outsider art‘ has steadily become the fastest growing area of
interest in modern art worldwide. He felt that there are artists who have received no formal
training, yet show talent and artistic insight. Their works are a motivating contrast to a lot of
conventional ones. At the time Dubuffet was advocating his theory, in India ‗an untutored genius
was creating paradise‘. Nek Chand made one of the biggest contributions by clearing a little
patch of jungle to make a garden sculpted with stone and recycled material. This garden is
known to the world today as the Rock Garden at Chandigarh.

13. How do the Chinese expect the people to view the horizontal scroll? Why?

Ans. Unlike European art, Chinese art is meant to be metaphorical. An artist in China would not
like the onlooker to look at a particular landscape from a specific angle. The Chinese painter
does not choose a specific viewpoint. One can enter his landscape from any point, and then travel
in it. The artist creates a course for our eyes to journey up and down, then back again, at an
unhurried pace. This is even truer of the horizontal scroll. The action of slowly opening one
section of the painting, then rolling it up to move on to the other, adds a dimension of time which
is unknown in any other form of painting. It necessitates the active contribution of the viewer. It
is the viewer who decides at what speed he will travel through the painting. The interaction is
physical as well as mental. The Chinese painter wants us to enter his mind. The landscape is an
inner one, spiritual and abstract.

Click on the given link for further explanation of the

chapter.
https://www.youtube.com/watch?v=aBM1-MqnLhY