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| The Concept of Time and Space and the Construction of Life in the Painting of the Six Dynasties |
| WANG Zhong-dong |
| School of Literature, Yangzhou University, Yangzhou, Jiangsu, 225009 |
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Abstract The concept of time and space in the paintings of the Six Dynasties is rooted in the cultural context of the philosophy of Xuanfo（玄佛）, manifested as a way of thinking that integrates heaven and man. This is actually an externalization of spiritual activities, condensing the painter’s aesthetic ideals and cosmic consciousness. The painters of the Six Dynasties emphasized the display of time rhythm in space and placed greater emphasis on conveying the spirit of life in the dimensions of time and space, Constructing a complete image world of unity between mind and matter. All painting activities cannot exist without time and space, and they complete the transformation from real time and space to aesthetic time and space in the creation of image, containing the infinite vitality of the universe. This concept of time and space is not only applied to the process of “writing with uniqueness”（动笔皆奇） and “coloring according to the category”（随类赋彩） in the ink and brush, but also to the composition process of “setting up the layout” （置陈布势）. It highlights the rhythm of life in the interweaving and fusion of emptiness and reality, motion and stillness, brightness and darkness, and sparsity and density, resulting in a vivid artistic effect of vitality and charm. When touring mountains and rivers, painters of the Six Dynasties corresponded their souls with nature, and interacting with the spirit of heaven and earth, thus obtaining a sense of freedom that both things and oneself forget. This way of thinking, which incorporates the early concept of time and space, provides a source of motivation for the schematic expression of image, while also reflecting the conscious pursuit of the Six Dynasties painters in their realm of life, becoming an important factor affecting the poetic style of Chinese painting.
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Received: 20 June 2023
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2023, Vol. 40 
