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13 mars 2024
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info:eu-repo/semantics/reference/issn/2421-5864
Ce document est lié à :
info:eu-repo/semantics/reference/issn/0035-6212
info:eu-repo/semantics/openAccess , https://creativecommons.org/licenses/by-nc-nd/4.0/
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Kandinsky (Vasilij Vasil'evič) Xie (Zheng) composition abstractionism freehand brushwork Kandinsky (Vasilij Vasil'evič) Xie (Zheng) composizione astrazionismo pennellata a mano liberaSujets proches
Cheng (Musical instrument) Guzheng Gu zheng Zheng (Musical instrument) Chinese zitherCiter ce document
Xin 欣 Ai 艾, « Kandinsky’s Composition and Zheng Xie’s Bamboo », Rivista di estetica, ID : 10.4000/estetica.14819
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Résumé
In the treatise On the Spiritual in Art, Wassily Kandinsky divided the creation of art into three categories, the ultimate one of which is called Composition. In this article, I argue that Kandinsky’s classification is similar and comparable to the principle of semi-abstract Chinese freehand brushwork summarized by Zheng Xie in the Inscriptions on Painting - Bamboo. In an attempt to clarify the core of Kandinsky’s strategy of abstraction, i.e. the transformation from painting to writing, I then connect it with the evolution of Chinese characters and the aesthetic theory of Chinese calligraphy, which is also in accord with Kandinsky’s idea of internal necessity and the spirit in art. Through this aesthetic dialogue across time and space, this article aims to bring a new dimension to the understanding of Western abstractionism from the perspective of the oriental philosophy of art.