the landscape of the soul class 11| landscape of the soul class 11|landscape of the soul | cbse

Landscape_of_the_Soul_Summary
_In_this_chapter,_the_writer_contrasts_two_forms_of_art_–_Chinese_art_and_European_art_by_using_two_different_stories._In_China_during_the_eighth_century,_the_Tang_emperor_Xuanzong_commissioned_a_painter_Wu_Daozi_to_decorate_a_wall_in_the_palace._Upon_seeing_the_wall_painting,_the_Emperor_started_noticing_the_outer_appearance_of_the_painting_but_the_painter_drew_his_attention_to_a_cave_at_the_foot_of_the_mountain._The_painter_told_the_Emperor_that_he_would_take_him_inside._The_painter_entered_the_cave_and_the_entrance_closed_behind_him._As_soon_as_the_painter_clapped_his_hand,_the_painting_on_the_wall_was_gone_and_so_was_the_painter.

In_another_story,_a_painter_wouldn’t_draw_an_eye_of_a_dragon_as_he_feared_that_the_dragon_would_fly_out_of_the_painting._In_another_story_to_represent_a_European_art_form,_a_master_Blacksmith_falls_in_love_with_a_painter’s_daughter._The_father_didn’t_approve_of_him_because_of_his_profession._The_blacksmith_sneaked_into_his_painting_studio_and_painted_a_fly_on_the_painter’s_latest_panel._The_fly_seemed_so_real_that_the_painter_tried_to_hit_it_first_before_realizing_it_was_in_the_painting._The_painter_accepted_him_as_a_trainee_in_his_studio._The_blacksmith_married_the_painter’s_daughter_and_later_became_one_of_the_famous_painters_of_his_time.

These_stories_revealed_as_to_how_art_form_is_believed_to_be_followed_in_two_different_regions_in_the_world._In_Europe,_an_artist_wants_the_viewer_to_see_a_real_viewpoint_by_borrowing_his_eyes._The_art_must_be_perfect_and_must_be_illusion_likeness._Whereas,_in_China,_the_artist_doesn’t_paint_a_real_one_but_uses_his_inner_and_spiritual_voice_to_create_an_abstract_piece._The_viewer_can_enter_the_painting_from_any_point_and_can_travel_according_to_his_own_imagination._The_artist_wants_the_viewer_to_enter_his_mind_and_create_a_path_of_its_own.

This_concept_is_called_‘Shanshui’_which_means_‘mountain_water’._When_they_are_used_together,_they_make_the_word_‘landscape’.
1._(i)_Contrast_the_Chinese_view_of_art_with_the_European_view_with_examples.
Ans:_The_Chinese_form_of_art_is_based_on_imagination_and_shows_inner_and_spiritual_approach_of_the_artist._Whereas,_the_European_art_form_is_real_and_reproduces_an_actual_view_of_the_object_from_the_landscape.
(ii)_Explain_the_concept_of_shanshui.
Ans:_Shanshui_is_a_Chinese_concept_of_art_which_means_‘mountain_water’._It_is_used_together_to_represent_the_word_‘landscape’._The_two_complementary_poles_(yin_and_yang)_of_an_image_reflect_the_Daoist_view.
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2._(i)_What_do_you_understand_by_the_terms_‘outsider_art’_and_‘art_brut’_or_‘raw_art’?
Ans:_‘Outsider_Art’_is_the_art_made_by_untrained_artists,_for_example_children_or_mentally_ill_person._‘Art_Brut’_or_‘Raw_Art’_is_a_type_of_art_made_by_people_who_are_not_professionals_but_they_create_an_art_piece_with_their_own_depth_and_understanding_and_not_from_the_stereotypical_form_of_classical_or_fashionable_art.
(ii)_Who_was_the_“untutored_genius_who_created_a_paradise”_and_what_is_the_nature_of_his_contribution_to_art?
Ans:_“Untutored_genius_who_created_a_paradise”_was_Nek_Chand._He_was_an_eighty_year_old_creator_–_director_who_made_the_world_famous_Rock_Garden_in_Chandigarh._He_used_everything_from_a_tin_to_sink_or_anything_which_he_felt_as_an_art_form._One_of_his_famous_creations_are_‘Women_by_the_Waterfall’.
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Talking_about_the_Text
1._Discuss_“The_Emperor_may_rule_over_the_territory_he_has_conquered,_but_only_the_artist_knows_the_way_within.”
Ans:_The_statement_means_that_the_Emperor_rules_over_the_territory_which_he_has_conquered_and_have_the_power_but_the_artist_knows_the_path_and_mysterious_work_of_the_universe._The_artist_can_go_beyond_the_materialistic_appearance_of_objects._No_matter_how_powerful_the_Emperor_was,_the_artist’s_true_art_form_can_be_seen_the_way_he_wants_to_show_them.
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2._Discuss_“The_landscape_is_an_inner_one,_a_spiritual_and_conceptual_space.”
Ans:_The_statement_‘The_landscape_is_an_inner_one,_a_spiritual_and_conceptual_space’_means_that_a_Chinese_artist_wants_the_viewer_to_enter_his_mind_rather_than_borrowing_his_eyes_to_view_his_art_piece.

This_requires_both_physical_and_mental_participation._Viewer_can_enter_the_painting_from_any_point_and_travel_from_one_point_to_another_point._As_it_is_not_a_real_one,_it_is_an_inner,_spiritual_and_abstract_space_of_the_artist.

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