Philosophy of Painting

An introduction is necessary here as to the understanding of the term Tao, or the Way, referred to as philosophical Taoism in Chinese culture. Many people are familiar with the text I-Ching, Book of Changes, a well-known Chinese philosophical classic. It describes a universe of fluid energies and is a Chinese oracle for proceeding in ones daily life. This ancient Chinese manuscript, as written by Lao-Tzu, meaning Old Philosopher, represented ideas in China at that time. It was probably authored by a contemporary of Confucius, Li Erh around 300 B.C. As it was written, it was a commentary on social-political matters as much as a metaphysical discourse on the Way or ultimate reality.

In this sense, the Way is empty and devoid in itself of all differentiation while still containing a seed like essence from which all things will emerge. This energy pushes each thing to develop in accord with its true nature. It can sometimes be interpreted as life-energy with a sense of morality. Chinese philosophers have argued that the Tao is the one reality that existed before all other things. It is identified with the continuous process of change in the universe as exemplified by the process at our death when all our matter and energy is reabsorbed into the universe.

These individual things are an energy that is not static but constantly moving and changing, as Yin and Yang. The beginning of a motion is the birth of Yang and the end of this motion is the birth of Yin. An Example of this relationship is day and night, day is Yang, and night is Yin. Where there is day, there must be night and where there is night, there must be day. Aspects of Yin and Yang changes may be compared to the various forms of water. When boiling water becomes steam and produces tremendous energy, this is Yang. When frozen water becomes ice it is still powerful but Yin. The symbol, used to represent Yin and Yang throughout history, shows a curved line separating white and dark areas. This curved line shows the Tao in a state of dynamic circular movement. Any variation in this curved line represents different speeds of movement.

In this symbol the amount of white in the Yin-Yang diagram changes gradually from the top to the bottom. It begins at the top of the circle and reaches its maximum size at the base. Where the white part of the diagram is largest, the black portion starts to emerge. The point where the black portion reaches its maximum size is the beginning of the white portion. This diagram illustrates how two opposites can be harmonized into a whole interrelated unit. The extreme of Yang is the creation of Yin, and the extreme of Yin is the creation of Yang. Another example can be illustrated by the positive and negative polarities in electricity. Neither a positive electric charge nor a negative one can separately produce light or heat. These opposites, as both Yin and Yang, need each other to form electricity. It is in this principle that extreme softness is followed by extreme hardness.

Most people do not realize that Chinese art, one of the worlds oldest artistic expressions, expresses this same sense of coherence. Western ideas of aesthetic quality owe much to Chinese art. Western appreciation of Chinese art has left very few people with the intrinsic appreciation of what the Chinese artists have endowed in their work. There was a non-verbal meaning meant for the viewer aside from the technical ability, atmosphere and quality of shape, texture and order. It was meant to make the viewer aware of their own environment and begin a trans-formative process. This transformation would open the viewers mind to their personal intimate relationship with their universe. Every observer is an integral part of a seamless web of undulating waves, patterns of ripple and unbroken movement and change. Their works of art would be an embodiment of and point to the Tao. They were meant to feed the inner soul with matching energy. It is this sharing of a common attitude to the world and to their art that was inherent in illuminating the infinite universe of the Tao and hinting at hidden layers of meaning.

In my next topic I will discuss the two main themes of the Tao in art, cyclic patterns of process and linear threads or veins. The most familiar and important elements of the Tao in my painting, Yin and Yang, will be explained in this forthcoming topic. For example, in my landscape paintings, the opening and closing relationship of hills and valleys as well as their combination together, the hidden concavities and bridge forms, and combination of opposing subtle hues and colors provide a harmonization leading to tranquility.