The role of Tao in shaping the principles of Chinese painting

The article discusses the contribution of the philosophy of Tao into Chinese painting and aesthetic thought in the process of their formation. The Eastern art in general, and visual arts, in particular, differ from the Western understanding of beauty and its implementation. The eastern approach to art differs from the western one; it is determined by the worldview based on the teachings of Tao. Painting does not occupy the highest stage in the Chinese hierarchy of the arts, such as music or calligraphy, but it can truly be considered the synthesis of the spiritual heritage of the Chinese people, because it combines both calligraphy and poetry, and is a unique phenomenon in itself. The theoretical and practical ideal of Chinese painting is nature; the simplicity and naturalness are appreciated. Tao is the cause of the ideal world and its harmony. A Chinese artist creating a work of art should become similar to the Creator. His task is not to portray the real world, but to comprehend through contemplation of the beauty of the world and to convey the vitality and spirituality of the objects with the help of a brush. Consequently, the most skillful artist is the one who manages to convey the inner essence of the subject, and to do this it is necessary to reconcile his thoughts, his spirit with his body. The article clarifies the notion of art in ancient China. The explanation of the first two laws Xie He that formed the basis of Chinese painting and aesthetics is offered. The level of professionalism of the artist consists in his ability to fill the form with content and inner meaning, but it cannot be fully achieved without comprehending Tao. From ancient times the external embellishment was not an end in itself and the final result of any creative work; the works of art had to have the vital spirit. The empty form had no importance. Therefore, artists could be divided into three types: those who imitate the reality, those who reproduce their own experience and those who are able to convey spiritual power through the image. Chinese painting is considered along with calligraphy, in other words, it is close to drawing. The great law of the Unified feature reigns here and there. Many Chinese artists were engaged not only in painting, they also developed the aesthetic theory and left written works in which they interpreted painting in terms of philosophy. The idea of the Unified feature bears a double meaning: on the one hand, it is the Absolute, a high standard separating all things from the One, on the other - it is a set of individual things that pervades this One. In other words, it is the idea of the all-encompassing unity. In China the idea of the Unified feature is developed aesthetically and philosophically, it is a symbol of perfect simplicity of the world and its representation in the picture. Chinese painting and Chinese art as a whole are inseparably linked with the worldview of the nation, with its values. The principles of Chinese art are linked with the understanding of Tao and its interpretation. Tao acts as an ideal sample and as an assessment criterion. The work of art should be determined by the laws of harmony, simplicity and naturalness. The picture is a masterpiece if only it is able to reproduce the spirit of the image and the energy with which the artist worked, and similarity with the real object does not seem so important. The highest ideal of beauty and simultaneously the embodiment of this ideal in the material, physical world is nature. Tao is the cause of the generation of the nature and of its perpetual motion and change. Tao appears to us as a great master, creating the world according to the canons of the ideal beauty.

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