Abstract
The depiction of landscape in art has played a major role in the creation of cultural identities in both China and Europe. Landscape depiction has a history of over 1000 years in China, whilst in Europe its evolution has been more recent. Landscape art (shan shui) has remained a constant feature of Chinese culture and has changed little in style and purpose since the Song dynasty. In Europe, landscape depictions have been significant in the modern determination of cultural and national identities and have served to educate consumers about their country. Consideration is given here to Holland, England, Norway, Finland and China, demonstrating how landscape depictions served to support a certain definition of Chinese culture but have played little political role there, whilst in Europe landscape art has been produced in a variety of contexts, including providing support for nationalism and the determination of national identity.
Highlights
The concept of cultural identity commonly refers to a feeling of belonging to a group in which there are a number of shared attributes which might include, among other things, knowledge, beliefs, artefacts, arts, morals, and law
National identity is seen as a specific form of cultural identity, in which political need adds an expedient element to the mix [1]
How, when and why did depictions of landscape emerge as central aspects of cultural identity in China? Secondly, in a Europe with a much more divided cultural history, how, when and why did issues of cultural and national identity incorporate or encourage landscape art? Thirdly, in what ways do the chosen subjects and means of landscape depiction compare between China and Europe; what have been the purposes of such art; and what have the legacies of such depiction been?
Summary
The concept of cultural identity commonly refers to a feeling of belonging to a group in which there are a number of shared attributes which might include, among other things, knowledge, beliefs, artefacts, arts, morals, and law. It is the contention of this article that artistic depictions of the physical and cultural landscapes of a state’s territory play a significant role in the creation and perpetuation of cultural and national identities Such depictions can be used as part of a political project, for example in the establishment of feelings of national identity where they can unite disparate elements in societies which cannot be brought together by other means, for example through a shared language. This argument is elaborated for the case of China as a whole and for a selection of states within Europe which together illustrate certain general patterns in the significance of landscape art in issues of identity in Europe, but which show the influence of specific national circumstances. How, when and why did depictions of landscape emerge as central aspects of cultural identity in China? Secondly, in a Europe with a much more divided cultural history, how, when and why did issues of cultural and national identity incorporate or encourage landscape art? Thirdly, in what ways do the chosen subjects and means of landscape depiction compare between China and Europe; what have been the purposes of such art; and what have the legacies of such depiction been?
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