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1、“TurningWesternLandscapeUpsideDown”MarkA.CheethamNanjingU.May2015Ithasoftenbeenclaimedthathumanconceptionsofnaturearerevealedinartists’depictionsoftheirphysicalenvironment[IMAGE,Milne,CampatNoon].WhatwouldthatmeaninthisverybeautifulwatercolourbyDavidMilne?We
2、seeacampsiteinthewoods,onealivewithhumanactivity,ifnotwithfigures.Therearecookingpotsinuse,bootsreadytowear,whatlookslikeahamperoffoodinfrontofthetent,andmostsignificantly,justtotheleftofthetent,asuggestionoftheartist’spalletandajarofwater,thepaintingtoolsth
3、atmadetheimagewesee.“Nature”ishereaplacetovisitandaplacetorepresentinart.Asyouknow,intheWestthegenreof“landscape”beganintheRenaissanceasafocusindependentofhistoricalandreligiouscontexts,thoughitsrootsgobacktoRoman,Greek,andEgyptianart.Thepresentationofnature
4、inartwillbemyfocus,butfirst,twocomments(orwarnings):“landscape”meansagreatrangeofthingsinWesterncultures.Itsappearanceasanartformisjustoneofthese.Secondly,whileIgreatlyadmirethemuchlonger,extensive,and,frankly,oftenmoresophisticatedtraditionsofdepictingthehu
5、manrelationshipwithnatureinChina,Idon’tknowenoughaboutthedifferencesandpointsofcontactbetweentheseculturalpracticestocommentonthem.Ihopeyouwillteachme.WhatIcanperhapsprovide,however,areafewnewparadigmsforlookingatWesternlandscape.Iwillusetwobroadheadings:1.I
6、tsdependenceonbordersandboundariesofvarioustypes,and2.Thelongstandingpracticeofinvertingorotherwise“upsetting”trees,ahabitthatIdon’tthinkhasbeennoticed.Myhopeisthatfromthesecontexts,wewilltogetherbeabletodiscussawiderrangeofissuesinlandscaperepresentation.1P
7、ART1.LandscapeandBoundaries:History,Philosophy,VernacularVisualCultureTheestablishmentofspatialboundariesandbordersisfundamentaltomuchWesternlandscapedepiction[SLIDE:Lorenzetti].OnecontroversyinthehistoryoftheformisitsetymologyinvariousEuropeanlanguages–what
8、thewordmeant,when,andforwhichspeakersofwhichlanguages.Evenetymologyisaformofboundarymaking,ofsettinglimits,ofestablishinginsidesandoutsidesviabordersofmeaning.Icanunderlinethispointinthreeways:h
