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Vide et plein: Le langage pictural chinois
Le langage pictural chinois
L'objet que se donne la peinture chinoise est de créer un microcosme, «plus vrai que la Nature elle-même» (Tsung Ping) : ceci ne s'obtient qu'en restituant les souffles vitaux qui animent l'Univers ; aussi le peintre cherche-t-il à capter les lignes internes des choses et à fixer les relations qu'elles entretiennent entre elles : d'où l'importance du trait. Mais ces lignes de forces ne peuvent s'incarner que sur un fond qui est le Vide : «Dans la peinture comme dans l'Univers, sans le Vide, les souffles ne circuleraient pas, le Yin-Yang n'opérerait pas.» Il faut donc réaliser le Vide sur la toile, entre les éléments et dans le trait lui-même.
C'est autour de ce Vide que s'organisent toutes les autres notions de la peinture chinoise ; celles-ci forment un système signifiant auquel François Cheng est le premier à appliquer ici une analyse sémiologique. Mais le commentaire, loin d'écraser son objet, le fait au contraire resplendir à travers d'amples citations, des reproductions, et surtout l'étude du peintre Shih-t'ao.
L'objet que se donne la peinture chinoise est de créer un microcosme, «plus vrai que la Nature elle-même» (Tsung Ping) : ceci ne s'obtient qu'en restituant les souffles vitaux qui animent l'Univers ; aussi le peintre cherche-t-il à capter les lignes internes des choses et à fixer les relations qu'elles entretiennent entre elles : d'où l'importance du trait. Mais ces lignes de forces ne peuvent s'incarner que sur un fond qui est le Vide : «Dans la peinture comme dans l'Univers, sans le Vide, les souffles ne circuleraient pas, le Yin-Yang n'opérerait pas.» Il faut donc réaliser le Vide sur la toile, entre les éléments et dans le trait lui-même.
C'est autour de ce Vide que s'organisent toutes les autres notions de la peinture chinoise ; celles-ci forment un système signifiant auquel François Cheng est le premier à appliquer ici une analyse sémiologique. Mais le commentaire, loin d'écraser son objet, le fait au contraire resplendir à travers d'amples citations, des reproductions, et surtout l'étude du peintre Shih-t'ao.
192 pages, Mass Market Paperback
First published January 1, 1979
20 people are currently reading
272 people want to read
About the author
François Cheng
78 books78 followersFrançois Cheng is a French academician, writer, poet and calligrapher. He is the author of essays, novels, collections of poetry and books on art written in the French language, and the translator of some of the great French poets into Chinese.
Born in China and taking French citizenship in 1973, he was elected to the Académie française in 2002, and was the first person of Asian origin to be a member of the Academy. He was the winner of the 1998 Prix Femina for Le Dit de Tianyi ("The saying of Tianyi")
When Cheng arrived in France in 1948, on a study grant, he did not speak a word of the language. He subsequently adapted quickly and profoundly. In his speech to the Académie française, he explained, "I became a Frenchman in law, mind and heart more than thirty years ago [...] especially from that moment when I resolutely went over to the French language, making it the weapon, or the soul, of my creative work. This language, how can I say everything that I owe to it? It is so intimately bound up with the way I live and my inner life that it has proved to be the emblem of my destiny." It took many years before he became a novelist. His first works were on Chinese poetry and painting. Later he began to write works of poetry himself, before finally turning to the writing of novels.
Born in China and taking French citizenship in 1973, he was elected to the Académie française in 2002, and was the first person of Asian origin to be a member of the Academy. He was the winner of the 1998 Prix Femina for Le Dit de Tianyi ("The saying of Tianyi")
When Cheng arrived in France in 1948, on a study grant, he did not speak a word of the language. He subsequently adapted quickly and profoundly. In his speech to the Académie française, he explained, "I became a Frenchman in law, mind and heart more than thirty years ago [...] especially from that moment when I resolutely went over to the French language, making it the weapon, or the soul, of my creative work. This language, how can I say everything that I owe to it? It is so intimately bound up with the way I live and my inner life that it has proved to be the emblem of my destiny." It took many years before he became a novelist. His first works were on Chinese poetry and painting. Later he began to write works of poetry himself, before finally turning to the writing of novels.
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Displaying 1 - 6 of 6 reviews
October 30, 2025
Çin piktüral sanatında resmin kutsallığı ve bunun felsefi boyutunda önem kazanan yin-yang, dağ-su, fırça-mürekkep ve bunların esinini oluşturan boşluk kavramını derinlemesine ve farklı dönemlere ait önemli sanatçıların eserleri ve düşünceleriyle anlatıyor yazar. Boşluk kavramına giriş için okuması oldukça güç bir eser. Öncelikle konfiçyüsçülük, taoizm ve Budizm inançlarına hakim olup sonrasında bu düşüncelerin boşluk kavramıyla başlayarak sanatlarına da nasıl tezahür ettiğini anlamaya çalışmak işi kolaylaştıracaktır.
June 5, 2024
Başlangıcında, kavramsal çerçeveye oturtulmuş öylesine bir çalışma okuyorum gibi geldi kitapta. Sonlara doğru sanatçıların pratikleriyle kurdukları anlamsal bağı anladıkça, anlatımın büyüsüne kapıldım. Kendi sanatımdan, üretim pratiğimden öylesine kesişimler yakalıdım ki adeta resimlerin gizine ortak hissettim kendimi.
January 14, 2017
La idea de vacío y su aplicación en el arte y en la vida, es una idea que difícilmente uno pueda olvidar. No es una lectura sencilla, tuve la suerte de tener un profesor en la facultad que nos facilitó el acceso a este libro.
October 2, 2024
Muy bellas estas palabras sobre la filosofía y la pintura china.
July 8, 2024
This book discusses Chinese Painting, History, and Philosophy in a very erudite way.
This book is recommended for anyone interested in Chinese art and culture.
This book is recommended for anyone interested in Chinese art and culture.
February 5, 2008
The zen idea of negative positive relationships squared.
Displaying 1 - 6 of 6 reviews