Philosophy in Ink: Mei Qing’s Integration of Form and Spiritual Conception in Landscape Painting
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Objective: This study investigates the unique visual philosophy of Mei Qing, a pivotal painter of the Ming–Qing transition, by analyzing how his landscape representations of Huangshan reflect a synthesis of formal innovation, literati aesthetics, and spiritual symbolism.
Methods and Materials: Using a qualitative visual analysis approach, the study examines Mei Qing's key landscape works, focusing on compositional elements, brush techniques, symbolic use of form, and their philosophical implications. Primary attention is given to works such as Tiandu Peak, Alchemy Table, and Lotus Peak. The analysis is contextualized through Daoist, Buddhist, and literati frameworks.
Findings: Mei Qing’s landscapes combine layered brushwork, spatial abstraction, and symbolic references to create poetic visual meditations. Huangshan is depicted not merely as a geographic location, but as a metaphysical space of solitude, elevation, and self-transcendence. Techniques such as negative space, asymmetry, and expressive voids reflect Daoist notions of non-being and spiritual detachment. The works are found to challenge representational norms and prioritize emotional resonance and philosophical contemplation.
Conclusion: Mei Qing redefined Chinese landscape painting by fusing formal structure with metaphysical inquiry. His works shift the function of landscape art from representation to introspective exploration, offering a vital contribution to Chinese visual philosophy. His artistic legacy lies in his capacity to transform natural forms into spiritual reflections of the self and cosmos.
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