Taoist, Buddhist, and Confucian artistic expression in the Tang Dynasty: The case of The Wangchuan River Hanging Scroll by Wang Wei (699-759)

  1. José María Prieto 1
  2. Javier Bustamante Donas 2
  1. 1 IUCR and Dept. of Social, Occupational and Differential Psychology, School of Psychology, Complutense University of Madrid
  2. 2 IUCR and Dept. of Philosophy and Society, School of Philosophy, Complutense University of Madrid
Revista:
De Medio Aevo

ISSN: 2255-5889

Año de publicación: 2023

Título del ejemplar: The pope, new Moses. From Eugene IV to the Medicean popes

Volumen: 12

Número: 2

Páginas: 397-422

Tipo: Artículo

DOI: 10.5209/DMAE.88818 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: De Medio Aevo

Objetivos de desarrollo sostenible

Resumen

Wang Wei es el mejor ejemplo paradigmático del sincretismo artístico religioso que caracteriza a la dinastía Tang. Durante esta dinastía se produce una síntesis de tres religiones, taoísmo, confucianismo y budismo, en la que se intercambian y mezclan elementos artísticos con expresiones doctrinales. Esta nueva síntesis, que da origen a la expresión china San jiao he yi 三 教 合 一(“tres enseñanzas hacen una”), creó un valioso conjunto de manifestaciones artísticas que toman forma en las obras de Wang Wei. En este artículo analizamos un rollo vertical de Wang Wei que forma parte del patrimonio inventariado en la Universidad Complutense de Madrid. Es un paisaje titulado “la villa junto al río Wang”, y retrata una escena en un jardín chino por excelencia. Es un raro ejemplo de rollo vertical, en el que aparecen 24 sellos antiguos, verificados uno a uno a partir de diferentes fuentes. Cuatro pertenecen al canciller Jia Sidao (s. XIII), incluido el famoso sello Chang, y ocho al catálogo de sellos de los emperadores Qianlong y Jiaqing (siglo XVIII y principios del XIX). Tres no han sido identificados y uno está muy borroso. El contenido de este rollo aparece citado en la lista de 126 pinturas atribuidas a Wang Wei en el catálogo Xuanhe patrocinado por el emperador Song Huizong en el año 1120. En el siglo XXI aparece como un homenaje secular, “obra impresionante de Wang Wei”, conservada en la Universidad Complutense de Madrid.

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Fuente de los datos: Dialnet