|
Abstract As Ancient Chinese painting exhibits classical and special characteristics of art, notably aesthetic conceptions, theories and techniques of painting, and the lasting appeal and charm of uniquely Chinese brush work. These characteristics have for some time been accepted and appreciated by Western audiences. Based on Chinese classical textual research and generalization, this paper advances three major characteristics of the theoretical literature of Chinese ancient painting. Firstly, traditional Chinese paintings are based on a continuous lineage of broader Chinese culture. Most ancient Chinese painters were proficient in poetry, calligraphy, literary creation, appreciation of arts and other artistic specialties in order to improve their integrity and artistic taste. They paid special attention to records and writings about painting generally and particular paintings, often recorded in short comments and annotations on a scroll of painting. Secondly, abundant documents related to the discussion and appreciation of the theoretical literature of Chinese ancient paintings could provide consistent evaluation standards and a basis for a consensus of appreciation. Thirdly, Chinese ancient paintings have unique modes of expression to observe figures, objects and landscapes, employ different painting procedures and equipment, and decorate Chinese paintings with special forms of mounting. Much valuable experience lies hidden and undeveloped in the treasure house that is the literature of ancient Chinese painting , and as this can be traced to the same origin, it can provide a foundation for intergenerational inheritance. Overseas discussion and publication of the literature of ancient Chinese theories of painting have been motley and intermingled since the rise of Sinology in the early 19th Century. Based on foreign textual studies in international publications, this paper set out to research the impacts of different regional cultures and humanistic geography environment. on artistic aesthetics, cultural heritage, interpretation and appreciation of literature of ancient Chinese painting on the application of literary geography for overseas scholars. Through the analysis of geographical distributions and evolutions of the research of overseas scholars , who have scattered in European, American, and Asian geographic regions, this paper focuses on the research hotspots of overseas scholars on literature of ancient Chinese paintings from the geographical culture and publishing status of multilingual works, analyzing the development of international publications on the literature of ancient Chinese paintings with respect to different regional and cultural factors. In light of the uneven distribution of literature of Chinese and Western paintings, authors bring forward ways to deal with international publishing problems and necessarily open up the publishing field of the theoretical literature of ancient Chinese paintings. Firstly, it could learn from the high-grade and high-level Chinese culture and appreciate inner beauty, accurately translate works of Chinese calligraphers and painters, theories of paintings and appreciation, academic art ideas, and Chinese painting annotations and postscripts, and communicate painting techniques and effective methods. Secondly, according to different regional and cultural characteristics, Chinese painting classics could pay much attention to the translation of professional terms in the painting documents and be selected to publish new and significant findings of Chinese traditional painting. Thirdly, the theoretical literature of Chinese paintings mainly contain aesthetic ideas, painting methods, creative concepts, research on theories of painting and form the academic contexts of Chinese painting texts. So, it is necessary to strengthen text and literature reviews and give consideration to painting text editions in accordance with international publishing standards and academic norms, which could bring forth new ideas, expound and publish multilingual editions of ancient Chinese painting texts to enhance international influence by exhibiting Chinese culture in the new era.
|
|
|
|
|
|
