Abdollah, Zahra, Ahmad, Baharudin (2011). Philosophical Origins of Absence of Color in Chinese Painting. , 18(1), 103-115.
Zahra Abdollah; Baharudin Ahmad. "Philosophical Origins of Absence of Color in Chinese Painting". , 18, 1, 2011, 103-115.
Abdollah, Zahra, Ahmad, Baharudin (2011). 'Philosophical Origins of Absence of Color in Chinese Painting', , 18(1), pp. 103-115.
Abdollah, Zahra, Ahmad, Baharudin Philosophical Origins of Absence of Color in Chinese Painting. , 2011; 18(1): 103-115.

Philosophical Origins of Absence of Color in Chinese Painting

The International Journal of Humanities
Article 6, Volume 18, Issue 1, 2011, Pages 103-115    PDF (218.87 K)
Authors
Zahra Abdollah; Baharudin Ahmad
University
Abstract
The suppression of color is a common mood in the Far Eastern aesthetic experience, which is best represented by the brush-ink Chinese painting. Influenced by the Taoist and Confucian philosophical doctrines, it reflects the traditional principles of loneliness, poverty, and simplicity. Visualizing the Chinese traditional dualism, the black and white system goes beyond an artistic style and resembles a state of contemplation which invites to complete unity with nature. The final goal is self-annihilation in the light of the principle of non-expression.
Keywords
Brush-ink Chinese painting; Far-Eastern art; Chinese philosophy; Black and white system; Dualism; Tai Ch’ i diagram
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