ST.MARY’S SR.SEC.SCHOOL

BAHUAKBARPUR,ROHTAK

TEACHER’S NAME: PRATIBHA SUB:ENGLISH CLASS:XI

Chapter 4 Landscape of the Soul

By Nathalie Trouveroy

06/07/20(Monday)

Introduction to the Lesson

Written by Nathalie Trouveroy, the chapter is about how different the Chinese Art form is,

from the European art form. The writer uses two stories to make a contrast. European art is

about reproducing an actual view whereas Chinese art is about not creating a real landscape.

European art is an artist‘s way to let viewers show exactly what he wants them to see in the

landscape. Chinese art is the artist‘s spiritual and inner voice where you can travel from any

point and it lets the viewer creates a path for their imagination.

Landscape of the Soul Summary

In this chapter, the writer contrasts two forms of art – Chinese art and European art by using

two different stories. In China during the eighth century, the Tang emperor Xuanzong

commissioned a painter Wu Daozi to decorate a wall in the palace. Upon seeing the wall

painting, the Emperor started noticing the outer appearance of the painting but the painter

drew his attention to a cave at the foot of the mountain. The painter told the Emperor that he

would take him inside. The painter entered the cave and the entrance closed behind him. As

soon as the painter clapped his hand, the painting on the wall was gone and so was the

painter.

In another story, a painter wouldn‘t draw an eye of a dragon as he feared that the dragon

would fly out of the painting. In another story to represent a European art form, a master

Blacksmith falls in love with a painter‘s daughter. The father didn‘t approve of him because

of his profession. The blacksmith sneaked into his painting studio and painted a fly on the

painter‘s latest panel. The fly seemed so real that the painter tried to hit it first before

realizing it was in the painting. The painter accepted him as a trainee in his studio. The

blacksmith married the painter‘s daughter and later became one of the famous painters of his

time.

These stories revealed as to how art form is believed to be followed in two different regions

in the world. In Europe, an artist wants the viewer to see a real viewpoint by borrowing his

eyes. The art must be perfect and must be illusion likeness. Whereas, in China, the artist

doesn‘t paint a real one but uses his inner and spiritual voice to create an abstract piece. The

viewer can enter the painting from any point and can travel according to his own imagination.

The artist wants the viewer to enter his mind and create a path of its own.

This concept is called ‗Shanshui‘ which means ‗mountain water‘. When they are used

together, they make the word ‗landscape‘.

07/07/20(Tuesday)

Landscape of the Soul Lesson and Explanation

A WONDERFUL old tale is told about the painter Wu Daozi, who lived in the eighth

century. His last painting was a landscape commissioned by the Tang Emperor Xuanzong, to

decorate a palace wall. The master had hidden his work behind a screen, so only the Emperor

would see it. For a long while, the Emperor admired the wonderful scene, discovering forests,

high mountains, waterfalls, clouds floating in an immense sky, men on hilly paths, birds in

flight. ―Look, Sire‖, said the painter, ―in this cave, at the foot of the mountain, dwells a

spirit.‖ The painter clapped his hands, and the entrance to the cave opened. ―The inside is

splendid, beyond anything words can convey. Please let me show Your Majesty the way.‖

The painter entered the cave; but the entrance closed behind him, and before the astonished

Emperor could move or utter a word, the painting had vanished from the wall. Not a trace of

Wu Daozi‘s brush was left — and the artist was never seen again in this world.

Dwells – live; stay

Splendid – very impressive; superb

Astonished – greatly surprised or impressed

A painter named Wu Daozi who lived in the eighth century was assigned to decorate a Palace

wall by the Tang Emperor Xuanzong. It was his last painting. The painter hid his work

behind the screen so the only emperor would see it. The Emperor upon looking at the

painting admired many things into that painting like discovering forests, high mountains,

waterfalls, floating clouds, men on hilly paths and birds in flight. The painter then made him

look at a cave in the painting which was at the foot of the mountain and compared it with a

living spirit. As the painter clapped his hands, the entrance of the cave opened and he let the

emperor know how beautiful the inside of the cave was and he asked him to show all this to

him. The painter entered the cave and the entrance closed behind him. The Emperor couldn’t

enter the cave, as the Emperor was greatly surprised, the painting vanished from the wall.

After that, the painter was never seen again.

Such stories played an important part in China‘s classical education. The books of Confucius

and Zhuangzi are full of them; they helped the master to guide his disciple in the right

direction. Beyond the anecdote, they are deeply revealing of the spirit in which art was

considered. Contrast this story — or another famous one about a painter who wouldn‘t draw

the eye of a dragon he had painted, for fear it would fly out of the painting — with an old

story from my native Flanders that I find most representative of Western painting.

Disciple – a follower or a pupil of a leader, teacher

Anecdote – a short interesting story of a real person

Flanders – a medieval country in Western Europe

These stories played an important role in classical education in China. Similarly, like the

books of Confucius and Zhuangzi are full of such stories as they help the master to help and

guide his followers in the right direction. These stories were considered to be deeply

revealing of the spirit just like the art. There was another famous story, in contrast to the

previous one, where the painter wouldn’t paint the eye of a dragon. He feared that the

dragon would fly out from the painting. It was one of the stories from many others which

came from a medieval country in Western Europe.

08/07/20(Wednesday)

In fifteenth century Antwerp, a master blacksmith called Quinten Metsys fell in love with a

painter‘s daughter. The father would not accept a son-in-law in such a profession. So Quinten

sneaked into the painter‘s studio and painted a fly on his latest panel, with such delicate

realism that the master tried to swat it away before he realised what had happened. Quinten

was immediately admitted as an apprentice into his studio. He married his beloved and went

on to become one of the most famous painters of his age. These two stories illustrate what

each form of art is trying to achieve: a perfect, illusionistic likeness in Europe, the essence of

inner life and spirit in Asia.

Antwerp – a city of northern Belgium

Delicate Realism – the quality of art that makes it seem real

Swat – hit or crush something

Apprentice – trainee; learner

Illusionistic Likeness – an illusion created which resembles something

During the fifteenth century in Antwerp, a master blacksmith named Quinten Metsys falls in

love with a painter’s daughter. Since the father was not accepting their relationship because

of his profession, the blacksmith sneaked into the painter’s studio and painted a fly on his

latest panel. The painting was so real that the master tried to hit the fly away, before he

realized that it was just a painting. The blacksmith wasaccepted into the studio as a trainee.

He married the painter’s daughter and later became one of the famous painters of his age.

The two stories told above are trying to illustrate the form of art in two different regions. In

Europe, the art is perfect and like an illusion which resembles something; In Asia, the art

gives an essence of inner life and spirit.

In the Chinese story, the Emperor commissions a painting and appreciates its outer

appearance. But the artist reveals to him the true meaning of his work. The Emperor may rule

over the territory he has conquered, but only the artist knows the way within. ―Let me show

the Way‖, the ‗Dao‘, a word that means both the path or the method, and the mysterious

works of the Universe. The painting is gone, but the artist has reached his goal — beyond any

material appearance.

As in the Chinese story, the artist reveals the true meaning of his work to the Emperor who

rules over his territory but didn’t know the way within. The Emperor only saw the outer

appearance of the wall painting. The work was mysterious and ‘Dao’ which means

something which has both paths is what the artist did. As the painting was gone after the

artist reached the caves, the motive was fulfilled that some work is beyond material

appearance.

A classical Chinese landscape is not meant to reproduce an actual view, as would a Western

figurative painting. Whereas the European painter wants you to borrow his eyes and look at a

particular landscape exactly as he saw it, from a specific angle, the Chinese painter does not

choose a single viewpoint. His landscape is not a ‗real‘ one, and you can enter it from any

point, then travel in it; the artist creates a path for your eyes to travel up and down, then back

again, in a leisurely movement. This is even more true in the case of the horizontal scroll, in

which the action of slowly opening one section of the painting, then rolling it up to move on

to the other, adds a dimension of time which is unknown in any other form of painting. It also

requires the active participation of the viewer, who decides at what pace he will travel

through the painting — a participation which is physical as well as mental. The Chinese

painter does not want you to borrow his eyes; he wants you to enter his mind.

The landscape is an inner one, a spiritual and conceptual space.

Figurative painting – metaphoric representation of an art

Leisurely – unhurried or relaxed

Conceptual Space – relation with an abstract representation

The Chinese landscape painting is not made with a real viewpoint but it is a representation of

the artist’s thoughts. The western painting in Europe is a figurative art form. The European

painter paints a landscape to show you a specific scene of the landscape whereas the Chinese

painter doesn’t choose a real viewpoint. You can enter the painting from any point and can

travel anywhere where your thoughts and imagination take you. The Chinese artist wants you

to travel by creating your own path and then come out in a relaxed movement. In China, this

mode of seeing a painting is more enjoyable. A horizontal scroll is a form where one section

of the painting is opened one by one by rolling it up to move on the other side. It creates a

dimension which is not practiced in any other form of artwork. It requires both mental and

physical participation of the viewer. The Chinese painter wants you to enter his mind and see

the painting from his thoughts. The landscape created by Chinese artists is spiritual, inner

and of conceptual or abstract space.

09/07/20(Thursday)

This concept is expressed as shanshui, literally ‗mountainwater‘ which used together

represent the word ‗landscape‘. More than two elements of an image, these represent two

complementary poles, reflecting the Daoist view of the universe. The mountain is Yang —

reaching vertically towards Heaven, stable, warm, and dry in the sun, while the water is Yin

— horizontal and resting on the earth, fluid, moist and cool. The interaction of Yin, the

receptive, feminine aspect of universal energy, and its counterpart Yang, active and

masculine, is of course a fundamental notion of Daoism. What is often overlooked is an

essential third element, the Middle Void where their interaction takes place. This can be

compared with the yogic practice of pranayama; breathe in, retain, breathe out — the

suspension of breath is the Void where meditation occurs. The Middle Void is essential —

nothing can happen without it; hence the importance of the white, unpainted space in Chinese

landscape.

Daoism – a Chinese philosophy based on the writings of Lao-Tzu

Void – empty; vacant

The Chinese concept of art is also expressed as ‘Shanshui’ which also means mountain

water. It is used together to represent the word ‘landscape’. The two complementary poles of

an image reflect the Daoist view. The mountain in the landscape is Yang which means to

reach vertically towards heaven, stable, warm and dry in the sun. Whereas the water is the

Yin, which is receptive and feminine aspect of universal energy. The Yang is active and

masculine, and the opposite of Yin. There is a third essential element which is a Middle Void

which is the place where they interact. This middle void can be compared to Pranayama

which means to breathe in, retain and breathe out. Here, the suspension of the breath is the

void in this meditation process. It is an essential part as nothing can happen without it.

Hence the white unpainted space in Chinese landscape is equally important.

This is also where Man finds a fundamental role. In that space between Heaven and Earth, he

becomes the conduit of communication between both poles of the Universe. His presence is

essential, even if it‘s only suggested; far from being lost or oppressed by the lofty peaks, he

is, in Francois Cheng‘s wonderful expression, ―the eye of the landscape‖.

Conduit – channel; tube

Oppressed – burdened; worried

Lofty – tall or high

The middle void is where a man finds an important role. Man is the channel of

communication in the space between Heaven and Earth which are the two poles of the

universe. Man’s presence is essential. It is not being lost or suppressed due to high peaks but

he is the eye of the landscape (Francois Cheng’s expression).

10/07/20(Friday)

Landscape of the Soul Questions and Answers

Understanding the Text

1. (i) Contrast the Chinese view of art with the European view with examples.

Ans: The Chinese form of art is based on imagination and shows inner and spiritual approach

of the artist. Whereas, the European art form is real and reproduces an actual view of the

object from the landscape.

(ii) Explain the concept of shanshui.

Ans: Shanshui is a Chinese concept of art which means ‗mountain water‘. It is used together

to represent the word ‗landscape‘. The two complementary poles (yin and yang) of an image

reflect the Daoist view.

2. (i) What do you understand by the terms ‗outsider art‘ and ‗art brut‘ or ‗raw art‘?

Ans: ‗Outsider Art‘ is the art made by untrained artists, for example children or mentally ill

person. ‗Art Brut‘ or ‗Raw Art‘ is a type of art made by people who are not professionals but

they create an art piece with their own depth and understanding and not from the

stereotypical form of classical or fashionable art.

(ii) Who was the ―untutored genius who created a paradise‖ and what is the nature of his

contribution to art?

Ans: ―Untutored genius who created a paradise‖ was Nek Chand. He was an eighty year old

creator – director who made the world famous Rock Garden in Chandigarh. He used

everything from a tin to sink or anything which he felt as an art form. One of his famous

creations are ‗Women by the Waterfall‘.

Talking about the Text

1. Discuss ―The Emperor may rule over the territory he has conquered, but only the artist

knows the way within.‖

Ans: The statement means that the Emperor rules over the territory which he has conquered

and have the power but the artist knows the path and mysterious work of the universe. The

artist can go beyond the materialistic appearance of objects. No matter how powerful the

Emperor was, the artist‘s true art form can be seen the way he wants to show them.

2. Discuss ―The landscape is an inner one, a spiritual and conceptual space.‖

Ans: The statement ‗The landscape is an inner one, a spiritual and conceptual space‘ means

that a Chinese artist wants the viewer to enter his mind rather than borrowing his eyes to view

his art piece.

This requires both physical and mental participation. Viewer can enter the painting from any

point and travel from one point to another point. As it is not a real one, it is an inner, spiritual

and abstract space of the artist.

Thinking about Language

1. Find out the correlates of Yin and Yang in other cultures.

Ans: In Indian culture, Yin which is receptive and female part and Yang which is Masculine

and male part are known as ‗Maya‘ and ‗Brahma‘. Nature is the Yin and God is the creator of

the universe.

Likewise Yin-Yang, the two combination of Maya and Brahma creates a world.

2. What is the language spoken in Flanders?

Ans: French language is spoken in Flanders which is situated in Belgium.

11/07/20(Saturday)

Important Question and Answers

Q. Which part of the landscape painted by Wu Daozi, did the Emperor

admire and how long?

Ans. The Emperor watched the painting for a long time. He admired the wonderful scene

painted by Wu Daozi. He discovered forests, high mountains, waterfalls, clouds floating in

the vast sky, men on hilly paths and birds in flight.

Q. What happened when Wu Daozi clapped his hands?

Ans. When the painter Wu Daozi clapped his hands the door of the cave opened. He entered

the cave but its door closed after him. The painting vanished and nothing was heard of the

painter thereafter.

Q. How does the Chinese story present the powers and limitations of Emperor

and the painter?

Ans. The Emperor may commission a painter and appreciate his painting‘s beauty, but only

the artist reveals to him the true meaning of his work. Secondly, the Emperor may rule over

the region he has conquered, but only the artist knows the way within.

Q. ‘Let me show the way,’ said Wu Daozi. Explain how the author interprets

the word ‘way’.

Ans. The word ‗way‘ according to the author has two meanings: (i) Path or the method and

(ii) the mysterious works of the universe. The painter tells the king the path to the cave or the

method to reach the cave. By entering the cave and disappearing from the world he explains

the mysterious works of the universe.

Q. What is the importance of man between Yang and Yin?

Ans. Yang and Yin are the two complementary poles of the universe. Man is the conduit of

communication between Heaven and Earth. His presence is essential. He is in Francois

Cheng‘s wonderful expression, ‗the eye of the landscape‘.

Q. How would you classify ‘art’ on the basis of your reading the chapter

‘Landscape of the soul’?

Ans. We may classify art i.e., paintings and sculpture broadly as ‗mainstream‘ offering

‗outsider art‘. Whereas the former are the products of trained artists, the latter are the works

of those who have received no formal training, yet show talent and artistic insight. It is the art

of the untrained visionary.

Q. Describe the wonderful tale about the Chinese painter Wu Daozi. What

does the author mean by giving it?

Ans. Wu Daozi was a famous painter of China of eighth century. His painting, ‗landscape‘,

was commissioned by the Tang Emperor Xuanzong to decorate the palace wall. Wu Daozi

requested the Emperor to look at the cave in the painting in which lived a spirit. The painter

clapped his hands. The cave opened and the painter entered it. But its door closed behind

him. The painting vanished from the wall. The artist was not seen thereafter nor any trace of

his brush etc. By this the author means to say that Chinese classical painting can be entered

from any point. It is actually the spiritual and conceptual space. The artist creates a path for

the viewer‘s eye to enter the landscape. He doesn‘t want the onlooker to borrow his eyes as

happens in the case of European painting.

Q. How does the Chinese view of art differ from the European view? Illustrate

your answer with examples.

Ans. A western figurative painting is meant to reproduce an actual view of the scene whereas

a classical Chinese landscape is based on an imaginative, inner or spiritual approach. The

Chinese art aims at achieving the essence of inner life and spirit while the European form of

art is trying to achieve a perfect illusionistic liking. The European painter wants the viewer to

borrow his eyes, and look at a particular exactly as he saw it, from a specific angle. On the

other hand, the Chinese painter does not choose a single view point. His landscape is not a

real one. He does not want the viewers to borrow his eyes. He wants the beholder to enter his

mind. One can enter a Chinese landscape from any point and move across leisurely and come

back. The Chinese view of art also requires an active participation of the viewer. This

participation is both physical and mental. The stories about the paintings of Wu Daozi and an

old story from Flanders amply illustrate the difference.

Q. Write a note on the concept of Shanshui as given in the ‘Landscape of the

Soul? Explain the concept of Shanshui and the fundamental yogic practice.

Ans. Shanshui literally means ‗mountain and water‘, which used together represents

‗landscape‘. These represent two complementary poles, reflecting the Daoist view of the

universe. The ‗mountain‘ is Yang which reaches vertically towards Heaven. It is stable, warm

and dry in the sun. The ‗water‘ is Yin, which is horizontal and rests on the earth. It is fluid,

moist and cool. Yin is feminine and Yang is masculine. The interaction between the two is

the fundamental notion of Daoism. The third element, called the ‗Middle Void‘, is often

overlooked. But, it is essential as there takes place their interaction. This can be compared

with the Yogic practice of pranayama. Nothing can happen without this element. Man is the

conduit of communication between Heaven and Earth. He is actually ―the eye of the

landscape‖.

Q. Which art does Nek Chand represent and how? How has he been

honoured?

Ans. Nek Chand, through his creation, the Rock Garden at Chandigarh, represents what is

called outside art or outsider art‘. This art is described as art of those who have ‗no right‘ to

be artists. This is because they have received no formal training, yet they show talent and

artistic insight. It is similar to the concept of‘art brut‘ or raw art‘ originated by the French

painter Jean Dubaffe in the 1940s. It is of those works that are in their raw state as regards

cultural and artistic influences. Nek Chand has been honoured by the UK-based magazine

titled ‗Raw Vision.‘ This magazine is pioneer in ‗Outsider Art‘ publications. It has featured

Nek Chand and his Rock Garden sculpture, ‗Women by the Waterfall‘ on its anniversary

issue‘s cover. It is its 50th issue

Home Work

Read the chapter minutely.

Do summary of the chapter in notebook

Do all the question answers of study material in notebook.