The concepts of space in Chinese art

Dear friends,

Another special feature reflected in Chinese art is its unique concepts in space.

Space consciousness

Man's feeling of space, it is believed, is an intuitive activity, and the psychological consciousness of space is constructed by the universal faculties of perception, such as seeing and feeling.

In viewing a Shang bronze, one can discern its monumental and solid quality. One can feel, also, the external and internal space of an architectural structure. A German scholar studying Chinese music found within it the presence of perspective, i.e. the realm of depth. Dance, too with its turnings, risings, failings and other movements likewise creates the sensation of space.

Every art form produces a type of space-consciousness. What triggers the spirit of space-consciousness (K'ung Chian Kan) in Chinese art? The answer lies within the unique expression of Chinese calligraphy. The spatial structure in Chinese painting is formed by the modeling of light and shadow, not by conforming to the sculptural spirit. Chinese ink painting has always been a product of abstract rendering. There is a spatial effect which is stimulated by the gestures and rhythmic indications of line. To be more appropriate, it is a calligraphically created space.

Chinese calligraphy is a rhythmic art. Unlike the Western word, which is a combination of many letters, a Chinese character is composed of different shapes of lines and dots, with each combination occupying a unit of space on paper. This unit of form is an arrangement where all parts, left, right, top, bottom, and the four corners, are perfectly balanced and echo each other -- an architectural structure. If a piece of calligraphy is well done, it should be a work of fine art creating the impression of space and depth. If each column is properly composed, one may see the harmonious unity, just as one sees the continuous movement of the wave on a lake or the swaying of branches and leaves in a tree before a breeze. So, such a piece of calligraphy becomes a stream of life, a fugue, or a dance.

As has been noted above, in the T'ang dynasty (7th century) the great calligrapher Chang Hsu derived his Mad Grass style of writing, which is a vigorous script, from watching the sword dance performed by Lady Kung Sun. And, in this same period, the famous painter Wu Tao-Tze improved his art of painting after he viewed a military dance by General P'ei Wen.

There is, indeed, a feeling of space aroused by parallel movements in the art of music, dance and calligraphy. The Ch'i expressed in calligraphy is an essential means of creating the atmosphere of space, for space is the stage upon which all action and movement takes place.

In a relatively simple painting, such as that of a single branch of bamboo, or some orchid sprigs, a few effective lines may suggest an atmosphere of light and air, the two aspects which are not actually painted into the picture yet occupy a definite space.

I once saw a fish painting by Ba Da, the well known artist of late Ming and early Ch'ing dynasty (1626-1705). There was nothing on the paper except the fish, depicted by only a few strokes. The lines portraying the fish were so well executed that they effectively indicated the space surrounding the fish, depicted effectively the space surrounding the fish, suggesting the existence of water.

This use of suggestion is exemplified also in the art of Chinese opera. In traditional Chinese theater, very little stage setting is used; usually only a table flanked by two chairs. The actor might swing his whip to show that he is mounting a horse or gesture with his hands to show that he is opening or closing a door. Such hints, through gestures, are similar to the suggestive lines used in brushwork to indicate movement and consequently space.

Thus, since the effect of depth is created by the symbolic lines, the element of perspective is not really needed. The realm of a piece of painting or calligraphy transcends reality. It exists in the mind's eye as an imaginative space.

The early stage of landscape painting dates back to the southern and northern dynasties period (ca 5th to 6th century). Tsung Ping and Wang Wei were among the early art critics and were especially important for their studies on perspective as well as space-consciousness in Chinese art. Moreover, their discoveries and discussions greatly influenced the future development of Chinese art, and formed decisive guidelines for the artists who followed.

To be continued.

-- Kwo Da-Wei