Communications in Humanities Research
- The Open Access Proceedings Series for Conferences
Communications in Humanities Research
Vol. 3, 17 May 2023
Open
Access | Article
Immensity in Trivialness, Integrity in Brokenness --To View The Bapo Painting from The Dimension of Time and Space
* Author to whom correspondence should be addressed.
Abstract
The Bapo Painting is a traditional form of art in China. Painters form the pictures by depicting the fragments of cultural relics. In recent years, with the increasing academic interest in "debris" and "ruins", Bapo Painting has also attracted more and more attention from Chinese and foreign scholars. However, as "intentionally-created" fragments, the richness in time and space embodied by Bapo Paintings has rarely been explored. Therefore, this paper will research the temporal and spatial value of the Bapo Painting. On the dimension of time, the Bapo Painting aggregates the past, present, and future. First, the life of the Bapo Painting begins before creation because its subjects are all antiques. Second, the selection and description techniques of fragments in the paintings disclose the social background at the time of creation. Lastly, the fragments on the paintings can trigger people's thoughts about the future destiny of things and their own lives. On the dimension of space, the fragments in Bapo Paintings constitute integrity, showing the dialectical relationship between incompleteness and completeness. From the creator's perspective, the spatial concept reflects a cultural blend of East and West. From the viewer's perspective, the fragments in Bapo Paintings can not only arouse reflection on the overall composition and connotation, but also initiate attempts to reconstruct the noumenon of fragments. Through the integrated perspective of time and space, Bapo Paintings embody the harmony between man and nature as well as the "aesthetics of ruins" that permeates China's cultural genes. Although the Bapo Painting is excluded from the mainstream, it represents the core spirits of traditional Chinese culture.
Keywords
Chinese, and, culture, intentionally-created, fragments, space, Painting, time, Bapo, traditional
References
1. Xinyuan Zhang. The Research on JinHuiDui’s Painting[D]. Bohai University, 2019:22-35
2. Yu Zhang. Analysis of the Significance of JinHuiDui in Graphic Design [D]. Qingdao University of Technology, 2018:38-47
3. Yueyi Xing, Guoliang Wu. The Study of Chinese Painting: A Study on the Art Form of JinHuiDui [J]. Beauty and Times (Mid), 2017 (10): 49-50
4. Yaming Deng. Preliminary Exploration on the Aesthetic Ideas expressed by Bapo Paintings [J]. Journal of Neijiang Normal University, 2010,25 (07): 64-66.
5. Yuanhui Zhang. Enlightenment of the Aesthetic Characteristics of JinHuiDui to Packaging Design [J]. China Packaging Industry, 2015 (18): 38-39
6. Feng Li. Not a Book but Better than Books, Not a Painting but Better than Paintings: The Aesthetic Connotation and Its Inheritance and Expansion [J]. Chinese Calligraphy, 2017 (16): 101-105.
7. Yan Zheng. The Iron Kasaya [M]. SDX Joint Publishing Company, 2022 (01): 286-338
8. Yi Lu. Exploring the Characteristics of the Early Bapo Paintings from the Yu’s Collection Works[J]. Oriental Natural History, 2009 (01): 102-112.
9. Qing Luo. Ink Painting Elegy in the Troubled Times: Yang Weiquan who painted the big era with the brush（1st Volume) [J]. Cultural Relics World, 2017 (09): 103-107.
10. Qing Luo. Ink Painting Elegy in the Troubled Times: Yang Weiquan who painted the big era with the brush (2nd Volume) [J]. Cultural Relics World, 2017 (10): 86-94.
11. Qing Wan. Pile up the Residual Treasures in the Painting: To See the Changes of the Times from the Bapo Paintings[J]. Rongbaozhai, 2005 (02): 180-186.
12. Nancy Berliner, Yifeng Wang. The Eight Brokens: Chinese Visual Illusion Paintings [J]. Oriental Natural History, 2004 (01): 118-124.
13. Nancy Berliner. The 8 Brokens: Chinese Bapo Painting[M]. MFA Publications ,2018(11):1-160
14. Jose, Nicholas. Bapo [M]. Giramondo Publishing, 2014:1-231
15. Yan Zheng. The Iron Kasaya [M]. SDX Joint Publishing Company, 2022 (01): 1
16. Tsuji Nobuo. A History of Japanese Art [M]. SDX Joint Publishing Company, 2016 (09): 130-131
17. Wu Hung. The Story of the Ruins: The "Presence" and "Absence" in Chinese Art and Visual Culture [M]. Shanghai People's Publishing House, 2012 (10): 48-50
18. Jian Xu. Starting from Jin Village: Bid Farewell to Artifacts and Walk to Life History of Objects [J]. Literary research, 2020 (12): 158
19. Giorgio Agamben. Ninfe [M] Chongqing University Press, 2016 (04)
20. Baihua Zong. A Walk into Aesthetics [M]. Shanghai People's Publishing House, 2005 (12): 191
21. Tingting Wang. Bapo Painting and Collage [D]. Central Academy of Fine Arts, 2018:16-19
22. Liyuan Wang. The Debate between Bapo Paintings and JinHuiDui [J]. Art Education, 2018 (24): 161-162.
23. Xinyuan Zhang. Research on JinHuiDui Painting [D]. Bohai University, 2019:31-34
24. Yan Zheng. The Iron Kasaya and Scene of Debris [J]. Reading, 2021 (03): 42-44.
25. Yongzhen Cheng. Research on Ruins Aesthetics[J]. Social Sciences in Henan Province, 2014,22 (09): 70-73
26. Minghui Ye. Deformed Beauty in Visual Arts [J]. Theory Monthly, 2006 (06): 134-136.
Data Availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Authors who publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See Open Access Instruction).
- Volume Title
- Proceedings of the International Conference on Interdisciplinary Humanities and Communication Studies (ICIHCS 2022), Part 1
- ISBN (Print)
- 978-1-915371-29-4
- ISBN (Online)
- 978-1-915371-30-0
- Published Date
- 17 May 2023
- Series
- Communications in Humanities Research
- ISSN (Print)
- 2753-7064
- ISSN (Online)
- 2753-7072
- DOI
- 10.54254/2753-7064/3/20220145
- Copyright
- 17 May 2023
- Open Access
- This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited