Last week I began to point to some research I have done last year. Today I want to go into a bit more detail about it.
Perhaps, I should make clear that I do not say that slow films are Chinese paintings. Nor do I say that all slow films can be compared to Chinese painting. This isn’t my intention, and I’m aware that it can look like it. This is why I clarify my intention beforehand.
I suppose that it can be difficult to see a connection between Chinese painting and Slow Cinema. However, only the term “Chinese” is really irritating, and it is only irritating because we divide the world into East and West. And why, with our own rich culture here in the West, should I make a journey to the East?
I spoke earlier about slow films’ link to landscape painting. It is important to see this link in a historical context. I cannot simply take, say, a Spanish landscape painting and make links to slow films just so that it fits to our Eurocentric reading. If I were to use a Spanish painting, I would ignore a vital part of art history, namely that landscape painting originated in the East, in China (London’s V&A museum currently exhibits striking artworks from China). What I see in any landscape painting has its roots – as vague as it may appear – in China. So why should I not start with it!?
The aesthetics of Chinese landscape painting derived from their philosophy (Buddhism, Taoism) and their take on nature. Nature as a governing force, man as the one who is only one part of the universe, but not the most important part of the universe.
While Westerners chased after the mechanical clock and attempted to divide time into ever smaller entities (to save time, and do more, as is the case today), the Chinese continued to live true to nature. In fact, when Western colonisers tried to introduce the mechanical clock in China, they were laughed at. The Chinese used them as toys, not as time pieces. Unfortunately, with the defeat in the Opium War against the British Empire, the Chinese were forced to adopt Western technology etc.
Traditional Chinese landscape painting has four major characteristics; emptiness, verticality, monochrome aesthetics, and, for me, the Three Perfections. Each of them made a specific contribution to the look of Chinese artwork. Not all of them were visible from the beginning of landscape painting, which is supposedly linked to the 4th century. Rather, it was a (slow) development towards perfection.
I will explain each of the characteristics in more detail in the coming weeks, and put them into the context of Slow Cinema. I hope this will give you an eureka effect similar to the one I had.
Stay tuned! Slowly…