Aesthetics and symbolic meaning of ancient Chinese snowy landscapes from the IV to the XX century.

Chan Zhui ORCID: 0009-0005-9394-9980 PhD in Art History Postgraduate student, Department of Art and Design, Far Eastern Federal University 690920, Russia, Primorsky Krai, Vladivostok, Ajax str., 10P changruidvfu@mail.ru

The cold climate is one of the important factors of innovation and historical development of mankind, influencing the spiritual life and the artistic and cultural sphere, while snow is a characteristic phenomenon of the winter cold climate. Chinese snow landscape painting, which has snow as its main theme, is based on the depiction of winter snow landscapes, snow scenes with flowers and birds, as well as snow figures, including elements of the natural landscape such as autumn frost and melting spring snow. The origin of Chinese painting of snowy landscapes can be traced back to the text records of the IV century, it evolved in different eras and schools, using techniques such as ink painting, oil painting and engraving to convey the charm and dynamics of snowy scenes.

The purpose of this article is to explore the aesthetic value and symbolic meaning of ancient Chinese paintings depicting snowy landscapes. Representative classical works of Guohua depicting snowy landscapes of the IV to XX centuries were selected, and using the methods of iconology and semiotics, an in-depth study was conducted to explore the visual aesthetics and cultural content of these works. The analysis of these works is aimed at providing new ideas for the creative thinking of contemporary artists.

Russian scientists Belozerova V.G.^[1], Stepanskaya T.M. ^[2], Rinchinova M.M. ^[3], Neglinskaya M.A. ^[4], Lebedev N.S. ^[5] and others conducted a study of Chinese landscape painting, mentioning and analyzing many works of great masters, but did not carry out a systematic study of aesthetic and the symbolic meanings of ancient Chinese snowy landscapes as a separate theme.

Scientists Wang Qiyu^[6], Gong Pengshi^[7], Wang Zan^[8], Du Xuetian^[9], Lu Fusheng^[10] and others examined in detail the history of the development of ancient Chinese snowy landscapes. After analysis, the authors came to the conclusion that Chinese painting of snowy landscapes reflects humanity's deep respect for nature, as well as its cognition, integration and transformation over more than 1,700 years. Snowy landscapes occupy an important place in the history and culture of China, dating back to the fourth century during the Jin Dynasty and became popular in the seventh century during the Tang Dynasty. Wang Wei, who lived in the Tang era, created methods of ink painting mountain landscapes, where his works with snow demonstrated black-and-white simplicity and a soulful atmosphere corresponding to the aesthetic ideas of "Tao", "Confucianism" and "Zen", and in Zen snow is considered a symbol of supreme wisdom. By the era of the Five Dynasties, the methods of painting snowy landscapes with ink had become mature, Jing Hao founded the "northern school of mountain landscapes", where full-size compositions created a sense of "terrible beauty" and "greatness". This trend reached its peak in the Song era (12th century) and was to varying degrees preserved and transmitted in a "retro" style in subsequent historical development. The meaning of beauty in snowy landscapes has constantly evolved, including a sense of emptiness, transcendence, grandeur, sublimity, as well as purity, elegance, beauty and picturesqueness. Chinese traditional culture believes that the creation and perception of snowy landscapes helps to purify the soul, and this concept is deeply ingrained in the minds of the Chinese, persisting to the present day. The author believes that this is also one of the main reasons why the ancient masters preferred to create snowy landscapes.

The topic of snowy landscapes is extensive, and the scope of research is wide. In Chinese traditional aesthetics, the masters sought to express the beauty of the idea and atmosphere in snowy mountain landscapes, as well as the emotional and symbolic load of images of flowers, birds and characters. Russian scientist Nekhvyadovich L.I. ^[11] suggested that when classifying landscapes, priority should be given to the theme of the image, dividing them into the natural environment and the man-made secondary environment, with rural and rural landscapes between them at the typological level. Menshikova E. E. ^[12] proposed a metaphorical model of natural forms, including the initial areas of the "inanimate natural world", "animal world" and "plant world". Snowy landscapes as a winter art form were originally one of the themes in ancient mountain painting. With the development of history, the objects of study of snow painting expanded to snow scenes with flowers and birds, as well as snow figures.^[13]

Consequently, the author believes that Chinese snowy landscapes cover both winter landscapes in nature and winter scenes from life. In natural landscapes, there are aesthetic and symbolic characteristics of images such as "four seasons", "snow", "snowy mountains", "animals in a snowy landscape" and "plants in a snowy landscape", while winter scenes from life refer to works related to the lives of people in snowy landscapes, exploring their emotions and values in winter.

In the work "The Sublime Harmony of forest springs", Guo Xi put forward the concept of the "four seasons", namely "spring is mild, summer is lush, autumn is rare, winter is dull"^[14]. These "four times" refer to spring, summer, autumn and winter and sum up the characteristics of each season. The four times symbolize the cyclicity of the four seasons and the concept of the continuity of time in space-time. Chen Weizhe explained the peculiarity of "winter dullness", arguing that in winter, if there is snow, the landscape will be bright and clean; without snow, it becomes dull and gloomy. Cold is not necessarily accompanied by snow, but the presence of snow inevitably means cold. Compared to spring, summer and autumn, winter can be considered the coldest time of the year, but it also has its own beauty. ^[15]

Snow is an important element representing a cold winter. It is white and changeable, can easily cover the ground or "dance" in the air. In different seasons and weather conditions, snow manifests itself in different forms. Han Zhuo, in his work "collection of landscapes", detailed the characteristics of winter, classifying snow in detail into spring, frost, returned by the wind and others, dividing winter into scenes by the fireplace indoors, where people drink wine, and outdoor scenes related to snow, such as grain transportation and waiting for a crossing over a snow-covered river. ^[16] Zen Master Falong mentioned in his lectures about the "lotus sutra", the types when snow covers the steps and flowers fall spontaneously, considering the vision of snow to be a symbol of enlightenment and claiming that snow symbolizes the sea of wisdom. "Snowy landscapes demonstrate an atmosphere of tranquility, tranquility and spacious transcendence, corresponding to Zen Buddhism"^[17]. Tsung Baihua wrote in "Walks on Aesthetics" that only after a big snowfall can the contours of rocks and tree branches fully reveal their unique spiritual character. ^[18] Fresh air after a snowfall allows everything in nature to show its true essence and vitality. He also notes that Wang Wei's ink painting technique is a typical representative of such landscapes. Wang Wei, a Buddhist monk and representative of literary painting, was respectfully called Dong Qijian "the progenitor of the southern school." "After the Snow on the Riverbank" (Fig. 1), using the light ink method, depicts the landscape after a snowfall, providing the viewer with space for imagination and reflection through the play of emptiness and reality, enhancing the visual impact of the work. At the same time, through simplification and abstraction of details, the majesty and mysterious winter atmosphere are emphasized, causing the viewer to have deep feelings of loneliness and reflection. In "Chuang Tzu · Knowledge of the northern journey"^[19] it is said about "washing in the snow for spiritual purity", which symbolizes the purification of the soul and mind from base thoughts and the desire to maintain purity of spirit and thinking. "Ablution in the snow" cleanses the soul, allowing connoisseurs to find relaxation and deepening in the fast pace of modern life.

(Fig. 1) Wang Wei, "After the snow on the riverbank", Tang Dynasty, ink painting, dimensions 31.3 x 207.3 cm, currently stored in Japan.

In "snowy mountain landscapes" mountains are usually the main object of the image. Ancient people believed that between heaven and earth, in natural landscapes, live deities or people who have reached the "way" (Tao), and this idea is deeply rooted in the minds of the Chinese. In Gu Kaizhi's "Notes on Yuntai Mountain" from the Jin Dynasty, Yuntai Mountain is depicted as a symbol, the place where the heavenly teacher Zhang Daoxi was engaged in the search for immortality. British scientist Michael Sullivan in his book "The Longevity of mountains and Rivers" notes that "mountains and rivers are not only a symbol of Taoism, but also embody its essence"^[20]. In Zen Buddhism, the "snow mountain" is also associated with nirvana. The founder of Buddhism Siddhartha Gautama practiced asceticism on snowy mountains, and today's Himalayas are the place of his asceticism, he is known as the "Snow Boy" and "Snow Saint".^[21] In traditional culture, the Confucian school interprets the symbol of the "snowy mountain" through the prism of the theory of human nature, focusing on the socio-ethical aspect of art. One of the most representative works of this genre is the snowy mountain landscape by Huang Gongwang from the Yuan Dynasty, who, after failures in his official career, chose "life in seclusion". Believing in Taoism, he became a proponent of the archaic "southern" style of mountain landscapes. At the age of 81, he created the "Painting of the Nine Peaks after the Snow" (Fig. 2) as a gift to the master of Confucianism Ban Weizhi. ^[22] This work depicts nine famous Taoist mountains, where simple buildings without people are depicted in the mountains, which causes the viewer to guess. Huang Gongwang, using a light red ink technique, created a world where heaven and earth merge in silence and softness. The work is done in a vertical format with a sequential image of mountain peaks and alternating them with a certain rhythm, using the "boneless" technique to outline the shapes of mountains and stones. In contrast to the snow, the upper sky and the lower water surface are depicted in dark tones, giving them whiteness.

(Fig. 2) Huang Gongwang, "Painting of the nine peaks after the snow", Yuan Dynasty, ink on silk, dimensions 117.2?55.3 cm, is kept in the Beijing Palace Museum.

Snowy landscapes with flowers and birds represent symbols of life in the natural landscape, metaphorically reflect human emotions and have a rich symbolic meaning. Among them, pine, bamboo and plum are glorified as friends of the writer and are called "three friends of cold time". Xi Kuntu, in Twenty-Four Verses, describes the scenes as "Thin pine trees with a stream flowing under them. Clear snow covers the shore, a fishing boat can be seen behind the stream," expressing the idea of pine, bamboo and snow as "three purity" having an elegant and unbound artistic style. Ancient artists used symbolism to depict the characteristics of an artistic style, which simplified perception and understanding, being one of the features and advantages of the ancient Chinese theory of style. ^[23] The "Three Friends of Cold Time" are a symbol of Chinese traditional culture, formed on the basis of long-term practice, cognition and emotional experience. Plum symbolizes inflexibility and self–improvement; pine – seriousness and proud inflexibility; bamboo - refinement and elegance, symbolizing high ideals and dignity. ^[24] These plants are also used to allegorize the asceticism, honesty and fortitude of the artist. According to the Romanticism of the XVIII century, "all the characteristics of a work of art are centered around one idea," and the word "symbol" gradually loses its traditional meaning of "symbol", acquiring the meanings of "symbolism", "allegory", "metaphor".^[25] Zhao Mengqiang's painting from the Southern Song era "The Image of three Friends of Cold Time" (Fig. 3) demonstrates straight and strong pine needles, bamboo leaves painted with the central part of the brush, and rounded, dense plum blossoms, showing the variety of brush techniques and the aesthetics of the scientist's ink game, symbolizing the directness and steadfastness of the author. Such topics are popular not only among scientists, but are also widespread among ordinary people seeking the life of a writer, reflecting their identification with the values and lifestyle of a scientist.

(Fig. 3) Zhao Mengqiang, "The image of the three friends of cold Time", Song Dynasty, on silk, dimensions 32.2 x 53.4 cm, is kept in the Taipei Palace Museum.

"Winter animals" means birds and insects that live in winter, which are an integral part of the artwork. In images, they can play the role of the main character, accent, decoration, or give a mood, often adding liveliness to the image. Zhu Da, an artist from the late Ming Dynasty and early Qing Dynasty, also known as one of the "four monks" and defending independence from the official school, was a master of painting flowers and birds. His works are imbued with a strong subjective perception, with an emphasis on the personification of fish, insects and birds. In the "Image of a Lonely Bird" (Fig. 4), a hidden meaning is conveyed through symbolism: the painting depicts one bird in the water, standing with one foot on the ground, the other raised into the air, shrunken and with arched back, with white eyes, withstanding hunger and cold, demonstrating at the same time a depressed but rebellious state. His brush is strong and emotional, expressing dissatisfaction with the world and cynicism, reflecting loneliness and determination, as well as unique and innovative artistic features. Chuang Tzu aesthetics emphasizes the important role of aesthetics in human life, through understanding, awareness and achievement of the Tao, overcoming life difficulties and reality, which, in fact, is an aesthetic overcoming that has a positive meaning in the pursuit of freedom and liberation of human nature. ^[26]

(Fig. 4) Zhu Da, "Image of a lonely bird", Qing Dynasty, ink on paper, dimensions 103.5?44 cm, is mentioned on page 196 of volume one of the "Catalog of Ancient Chinese Books and Paintings", code Y12-196.

Snowy landscapes with figures enrich the emotional experience and narrative characteristics by analyzing the themes of the characters' activities and changes in composition, and explaining the subtext ^[1][27] in order to demonstrate the unique artistic value and cultural significance of these works. People have learned to adapt to the cold winter, and ice and snow have become a part of their lives, which the ancient masters captured in painting snowy landscapes. In these works, the characters usually act in a natural mountain landscape, are represented as accents in the composition, occupying a small part of the space and are limited in number. To emphasize the depth of the spatial atmosphere, the works of antiquity rarely depict everyday life with its everyday details. Examples of such works are Zhang Wo's "Snowy Night at Dai" (Ill. 5), Ma Yuan's "Lonely Fisherman on a Cold River" (Ill. 6) and Li Di's "Return of the Shepherd in the Snow" (Ill. 7). Characters in these works include writers, hermits, fishermen, travelers visitors, shepherds and so on, living a secluded life, with high morals and a love of mountains and waters. Chinese snowy landscapes are inherited and developed through a constant "return to the roots", so that the themes of the characters' winter activities are often repeated, creating established patterns that include traveling, searching for plums, fishing, hunting, meeting friends, waiting for a ferry, boating, watching from a tower, meetings and more. The authors believe that the characters in these paintings usually demonstrate two types of attitude to the cold winter: loneliness and melancholy, when they can choose asceticism and detachment from the world, or calmness and serenity, choosing a life of solitude^{[2] [28]} and enjoying rural life. These artistic features of the characters persisted until the Qing Dynasty. Lang Shining, an Italian painter, arrived in China in 1715 as a missionary and soon became a palace painter. "Fun in the Snow in the Time of the Hongli Emperor" (Fig. 8), made by him in collaboration with other Chinese palace artists, is a group portrait depicting the Qianlong Emperor celebrating the New Year with his sons. In the painting, the Qianlong Emperor holds a symbol of prosperity in his hands, a cypress branch under his feet, which symbolizes good luck in all matters, the depicted fish and fragrant smoking apparatus symbolize abundance and peace, the explosion of firecrackers means the expulsion of evil spirits^[3] and the game of "snow lion" symbolizes good luck and protection from evil forces. ^[29] Important symbols are used in the painting, which is a characteristic feature of the palace works. Lang Shining and other foreign artists had a significant influence on Chinese artists of the time, and their work is an example of an early fusion of Chinese and Western art.

(Fig. 5) Zhang Wo, "Snowy Night at Dai", Yuan Dynasty, ink on paper, dimensions 91.8?39.6 cm, is kept in the Shanghai Museum.

(Fig. 6) Ma Yuan, "A Lonely Fisherman on a Cold River", Song Dynasty, dimensions 26.7?50.6 cm, is kept at the Tokyo National Museum, Japan.

(Fig. 7) Li Di, "The Return of the Shepherd in the Snow", Song Dynasty, ink painting, dimensions 23.x24.2 cm, currently stored in the Yamato Bunkakan Museum in Japan.

(Fig. 8) Lang Shining (Giuseppe Castiglione), "Fun in the snow during the time of the Hongli Emperor", Qing Dynasty, color painting on silk, dimensions 486?378 cm, is kept in the Beijing Palace Museum.

The author believes that the characters in these paintings, when faced with a cold winter, usually show two types of attitudes. One of them is the feeling of loneliness and melancholy, when they can choose an ascetic life, abandoning worldly worries. The second is calmness and relaxation, when in response to the cold environment they prefer to live in seclusion, enjoying a quiet rural life.

From the above-mentioned works, it can be seen that in Chinese painting of snowy landscapes, the beauty of the idea and atmosphere is pursued, and in images of snow flowers and birds, as well as people, the masters prefer to use symbolic methods to give the snow a figurative character. In Chinese traditional aesthetics, "image" and "idea" are concepts that combine subjective and objective, scenario and emotion. In painting snowy landscapes, the symbols of snow and snowy mountains emphasize the "atmosphere" of a cold mountain space, where the ideal is the "atmosphere of cold and desolation", which the masters of snow painting strive for. "Image" means a picture that arises in the mind through associations with things. In snow paintings with flowers and birds, snow plum, bamboo and pine are often used to express the artist's emotions towards nature and reflect his perception of the changing seasons. Tsung Baihua in his work "A brief discussion of literature and symbolism" puts forward the concept of the beauty of the image, which can symbolize deep inner feelings and states. He believes that the third level of art is character, which is an allegory of the nobility of personality, and the combination with Western symbolism represents the highest degree. ^[30] Artists use these symbolic images to express their ascetic, honest and steadfast noble character. In snow paintings with birds and flowers, the classic combination "three friends of cold time" reflects how the ancient masters used the symbols of pine, bamboo and plum in the winter snow to allegory the moral qualities of the artist.

In ancient snowy landscapes, characters are often depicted in scenes with rare traces of human life, acting among natural mountains and waters. In these works, certain patterns of activity were formed, which the authors summarized as traveling, searching for plums, fishing, hunting, visiting friends, waiting for a ferry, boating, watching from the tower and communicating. During the Qing Dynasty, the characters of snowy landscapes moved from mountain and water scenes to depiction of real palace life, where the figures became the main object of the painting, and their clothes and objects acquired their own symbolic meaning, often carrying a happy message.

Snow as a characteristic serves as a "gold test", testing and emphasizing human vitality and resilience. Reflections on the difficulties of life begin with individual experience, reflecting the suffering from the insoluble contradictions between man and nature, man and society, and include a strong critical spirit towards social reality. In works of art, this is manifested by the desire to express sadness, sadness and misanthropy. However, there are also works that demonstrate resilience, well-being, morality and the sublimity of cultural values.

^[1] The original word is das Bedeutende, which means "that which has meaning" or "that which contains meaning", similar to the Chinese word "", hence the translation "". "It's close to the Chinese word "", so it translates as "". In this book, Hegel usually refers to it as "content" (Gehalt).

^[2] "Hidden lightness" is not only a political retreat, but also the interest of the "hidden" inhabitant, which becomes the aesthetics of the Chinese context itself

^[3] The New Year's Beast, also known as "Nian", is an evil beast in Chinese folklore and mythology