2007 4 131-170 prototype theory 131
A Study of Su Hsuei-Lin s Painting Based on the Literati Painting Prototype Wu Rong-Fu Assistant Professor, Department of Chinese Literature, National Cheng Kung University Abstract Looking at Su Hsuei-Lin s Landscape Painting Collection and reading her 650-plus essays about the painting experience from her Poetry under the Light, Life Ninety-Four and Diary, I have found that she was engaged in four major activities: painting, composing poetry, writing academic papers, and artistic creation, each of which took up one quarter of her energy and talent. However, she is generally recognized as a scholar, a writer and a poet, rather than a painter. While she is never identified as a painter in the painting community, her works are viewed as literati paintings. This leads me to assume that literati painting ought to have its prototype. Therefore, this study is intended to explore the prototype of literati painting from the perspective of similarity instead of sameness, based on the prototype theory. In this study, Chinese painting is generally classified into two major categories. One category 132
contains personality paintings that have been created since the pre-chin period. The other category consists of landscape paintings, which began to prevail following the Wei-Ching period. A discussion of literati views of the two categories is conducted to work out the prototype of literati painting. In the research process, the following points are discussed: (1) literati painting as a reaction to religion-and-morality oriented personality painting, (2) the low status of a painter in society, (3) the development of landscape painting under the indirect influence of the spiritual cultivation of Taoism (4) poetic landscape painting and the prototype of literati painting. Literati painting can thus be defined with three requirements. The first requirement is that it must be a literary figure, especially a poet, not a professional painter. The second requirement is that landscapes should be featured as the subject matter, and the third requirement is that entertainment is emphasized over artistic demands. A data analysis of Wang Wei, Po Chu-i, Su Shih and Su Hsuei-Lin highlights the kind of painting that a literary figure is fond of. To Wang Wei, painting is nothing but a playful matter at times and a matter occasionally known. Deep in his heart, his lifetime dream is to become a painter. Theory of painting had been gradually formulated over the period from Tang dynasty to Sung dynasty at the time of Su Shih. In the case of Su Hueh-Lin, we have come to see her as a contemporary poet who is supposed to be a painter in previous life. Regardless of a great number of shortcomings, she followed her interest to paint throughout her life. This is because that the initial prototype of literati painting is entertainment. Playfulness is more important than artistic sense. Thus, when she was not recognized by a professional painter, she still remarked, Mr. Hung is good in both calligraphy and painting, even better in inscription. It never occurs to me that he is short of learning and talent to such an extent. She means to say that the major difference between an amateur literary painter and a professional painting artisan is learning and talent. Keywords: Prototype, Consciousness of Literati Painting, Spiritual Cultivation of Taoism, Poetic Landscape 133
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1897.3.26 1999.4.21 1948 1996 1 2 1 84 3 14 2 84 3 15 135
3 4 5 6 7 3 84 3 19 4 1999 8 5 84 3 19 6 83 10 9 7 83 10 11 136
prototype theory 8 9 10 54/12/7 73/4/4 73/4/19 73/4/25 8 prototype archetype 84 9 49 9 80 4 17 10 80 4 18 137
11 1897 1986 12 11 1999 12 73 1 6 1999 15 138
13 14 15 13 28 64 3 489 73 10 255 14 73 10 696 15 1999 9 139
16 17 18 16 67 3 50 17 65 7 7 18 11 10 140
19 Wu Hun 20 21 彦 22 23 19 1985 11 751 20 2003.9 31 21 1998.1 565 22 彦 1985 7 23 72 140 141
24 25 26 27 24 73 10 10 25 73 10 6 26 59 646 27 70 12 19 157 142
槖 28 29 烟 28 11 14 29 274 275 77 2680 25 3941 3942 143
30 31 32 33 30 49 31 305 32 76.5 33 33 63 8 154 144
34 35 36 37 38 39 40 34 65 9 1561 35 11 28 36 11 106 37 73 10 693 38 1990.5 100 39 1985 207 40 43 143 2005.4 72 145
41 42 43 41 1985 207 42 62 5 132 43 1993 9106 146
44 45 44 1993 9395 45 68 2 1254 147
46 47 46 43 503 47 1988 12 1375 148
48 49 41/4/7 41/4/8 52/2/11 52/2/28 73/4/19 48 60 721 49 68 2 4337 149
41 73 41/1/1 150
50 1 舘 1933 2 1969 3 舘 1944 4 1970 5 1973 1992 6 1974 1992 7 1978 8 1980 9 1956 10 1951 11 1967 1967 12 1969 13 1967 14 1959 1 1929 1957 2 1957 3 1967 4 1969 5 1967 6 1927 1959 7 1938 8 1955 50 1921 66.67 151
9 1958 10 1967 11 1967 12 1967 13 1982 14 1977 15 1978 16 1978 17 1980 18 1967 19 1967 20 1967 21 1979 22 1999 1 1982 1 1994 37/11/27 40/8/4 152
54/1/22 54/1/24 64/5/5 74/12/31 74 153
55/11/19 54/8/19 咏 73/7/24 77/3/16 51 51 73 10 696 154
52 41/1/23 41/1/24 41/1/25 41/1/26 52 73 10 692 155
54/10/18 A 53 B 54 劚 劚 53 4 54 71 8 156
55 烟 56 坂 坂 57 羣 廻 55 15-16 56 36 39 40 57 46 157
58 59 C 37/12/1 52/2/21 52/2/23 58/8/31 58 134 59 139 144 158
58/8/27 37/12/1 52/2/21 52/2/23 58/8/27 52/3/1 58/8/6 73/7/23 33 37/11/20 37/12/3 41/1/23 41/2/10 159
41/2/13 41/2/14 41/2/15 41/2/16 41/3/10 41/4/7 41/4/8 54/11/6 57/11/5 57/11/12 58/8/6 58/8/10 58/8/14 62/8/8 160
62/9/7 62/9/8 62/9/9 62/10/18 64/4/30 64/5/5 66/3/31 73/6/9 73/7/8 73/7/23 73/7/26 73/7/27 73/8/3 73/11/12 41/1/23 58/8/14 161
62/9/8 23 73/5/29 37/7/8 162
37/11/20 54/10/27 41/3/14 41/3/18 41/3/23 52/2/21 52/3/4 54/11/1 163
54/11/15 54/11/16 54/11/17 54/11/25 54/11/27 54/12/2 54/12/4 54/12/6 56/12/9 57/11/18 57/11/28 57/11/29 57/11/30 164
57/12/5 57/12/6 57/12/7 57/12/13 58/1/10 54/10/25 41 81 52/2/21 54 57/11/18 58/1/10 19 39 47 55 69 71 73 81 165
37/11/26 54/9/13 62/8/16 73/5/31 73/6/1 73/6/3 73/6/7 73/6/21 73/6/23 166
73/6/25 41/1/27 41/2/16 41/3/12 52/2/17 52/2/20 52/2/27 54/1/16 54/11/15 54/12/3 54/12/16 56/12/2 167
76/6/1 168
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