Abstract
A work of art must have medium in order to express itself, come into existence, and pass along from generation to generation, but the issue of medium has not received adequate attention from the academic community. Some famous aestheticians have studied and written about the issue, but from the perspective of art history, the academic community is yet to fulfill its responsibility in that respect. I see medium mainly from the view of its internalization on the part of the artists. The “Shen Si” for artistic creation needs to work side by side with the medium of language which serves as a vehicle of thinking. In my point of view, medium serves as a link between an artist’s conceptualization and communication of that concept to the external world. That is the significance of medium I am going to discuss now.
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Notes
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Vinci, D. (1997). De Vinci on Painting. In M. Lu & X. Li (Eds.), Selected Readings on Typology of Arts (p. 82). Wuhan, Hubei: Huazhong Normal University Press.
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Aesthetics by Hegel in Germany, Vol. 3, Part I (p. 282). Translated by G. Zhu, The Commercial Press, 1981.
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Ibid., p. 335.
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Ibid., p. 344.
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Preface to Landscape Painting by Zong Bing. See Jianhua, Y. (2000). Compilation of Theories about Painting in Ancient China, Vol. I (p. 583). People’s Fine Arts Publishing House.
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Zhang, J. (2021). “Shen Si” and Artistic Medium. In: The Soul of Creation (Shensi). Key Concepts in Chinese Thought and Culture. Palgrave Pivot, Singapore. https://doi.org/10.1007/978-981-16-0496-6_6
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DOI: https://doi.org/10.1007/978-981-16-0496-6_6
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