On Huang Binhong’s Intertextual Creation Of Paintings And Guqin Music

The academic attempts, logical inductions, and art creation theories of this project can be divided into four "interpretational" parts. Part Ⅰ is a brief introduction to the art theories, landscapes, and moral values of Huang Binhong, a master of traditional Chinese landscape painting. Part Ⅱ is a brief introduction to and analysis of Chinese guqin music and its artistic implications to ancient Chinese literati. Part Ⅲ is a summary of intertextuality as a theory proposed by the French linguist and art critic Julia Kristeva. This is followed by an attempt to reveal the possible intertexual connections between Huang’s landscapes and guqin music. Part IV is a poetic and theoretical attempt to interpret Huang’s collage or intertextual art creation of landscape paintings and guqin musical scores. This paper, with its interpretations of Huang’s collage of landscapes and musical scores, is meant to find a pathway leading to an understanding of the "inner beauty" and "national traits" of Huang’s paintings and the art spirit embodied in Huang’s guqin music. This paper attempts to understand the highly conspicuous intertexuality of Huang’s landsacpes and guqin music by probing into his self-cultivation, art theories, and art spirit. The art creation by the author of this paper based on an analysis of the intertextuality of Huang’s landscapes and guqin music is also a tentative endeavor to translate ancient Chinese art spirit into a modern language.