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'Mountains and water' and Daoist cosmology in artists' moving image: A conversation with Gao Shiqiang.

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Τίτλος: 'Mountains and water' and Daoist cosmology in artists' moving image: A conversation with Gao Shiqiang.
Συγγραφείς: Yu, Kiki Tianqi
Πηγή: Moving Image Review & Art Journal; 2026, Vol. 15 Issue 1, p107-118, 12p
Θεματικοί όροι: Landscape painting, Taoism, Chinese civilization, Artists, Motion pictures, Chinese art, Landscapes
Γεωγραφικοί όροι: China
Περίληψη: The article focuses on the Chinese cultural and artistic tradition of shanshui ("mountains and water"), tracing its origins as a landscape painting style during the late Han Dynasty and its evolution into a Daoist-influenced worldview emphasizing cosmic interconnectedness and natural spontaneity (tianrenheyi). Contemporary Chinese artist Gao Shiqiang revitalizes shanshui through moving image art, integrating classical aesthetics and Daoist philosophy—such as wuwei ("action through nonaction") and zaohua ("continuous transformation")—to challenge Western-centric art paradigms and respond to China’s sociopolitical context. Gao’s works, including the "Mountains and Water Moving Image Project," employ traditional compositional methods like Guo Xi’s "Three Distances Method" to transcend anthropocentric perspectives, offering a poetic, multifocal experience of landscape that bridges historical literati ideals with present-day realities. The article also discusses the complexities of engaging with traditional Chinese culture amid contemporary political and cultural dynamics, highlighting the ongoing evolution of shanshui as a living philosophy and a form of subtle resistance. [Extracted from the article]
Copyright of Moving Image Review & Art Journal is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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An: 195468518
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  Data: 'Mountains and water' and Daoist cosmology in artists' moving image: A conversation with Gao Shiqiang.
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  Data: Moving Image Review & Art Journal; 2026, Vol. 15 Issue 1, p107-118, 12p
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  Data: <searchLink fieldCode="DE" term="%22Landscape+painting%22">Landscape painting</searchLink><br /><searchLink fieldCode="DE" term="%22Taoism%22">Taoism</searchLink><br /><searchLink fieldCode="DE" term="%22Chinese+civilization%22">Chinese civilization</searchLink><br /><searchLink fieldCode="DE" term="%22Artists%22">Artists</searchLink><br /><searchLink fieldCode="DE" term="%22Motion+pictures%22">Motion pictures</searchLink><br /><searchLink fieldCode="DE" term="%22Chinese+art%22">Chinese art</searchLink><br /><searchLink fieldCode="DE" term="%22Landscapes%22">Landscapes</searchLink>
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  Label: Abstract
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  Data: The article focuses on the Chinese cultural and artistic tradition of shanshui ("mountains and water"), tracing its origins as a landscape painting style during the late Han Dynasty and its evolution into a Daoist-influenced worldview emphasizing cosmic interconnectedness and natural spontaneity (tianrenheyi). Contemporary Chinese artist Gao Shiqiang revitalizes shanshui through moving image art, integrating classical aesthetics and Daoist philosophy—such as wuwei ("action through nonaction") and zaohua ("continuous transformation")—to challenge Western-centric art paradigms and respond to China’s sociopolitical context. Gao’s works, including the "Mountains and Water Moving Image Project," employ traditional compositional methods like Guo Xi’s "Three Distances Method" to transcend anthropocentric perspectives, offering a poetic, multifocal experience of landscape that bridges historical literati ideals with present-day realities. The article also discusses the complexities of engaging with traditional Chinese culture amid contemporary political and cultural dynamics, highlighting the ongoing evolution of shanshui as a living philosophy and a form of subtle resistance. [Extracted from the article]
– Name: Abstract
  Label:
  Group: Ab
  Data: <i>Copyright of Moving Image Review & Art Journal is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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        Value: 10.1386/miraj_00165_1
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      – Code: eng
        Text: English
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        PageCount: 12
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        Type: general
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              Text: 2026
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