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The painting Nymph of the Luo River is created by Gu Kaizhi, an artist in East Jin Dynasty in China, and it is inspired by Cao Zhi’s “Nymph of Luo River”, a poem in the Three Kingdoms period. This story tells the romantic story between Cao Zhi, the prince, and the Nymph of the Luo River in his dream. Though this painting has lost due to a long time, the facsimiles of the original work maintain the characteristic of Gu. Gu divides the silk scroll of the painting into three parts, recording the confront, fall in love, and break with each other. Presenting a distinguishing myth love story from the West, Nymph of the Luo River reflects the different states of Nymph and Cao Zhi through details, indicating their unequal social status combined with the temporal Polygamous system.
The visual effect of Nymph of the Luo River is presented by the temporal combination of the social status that there is a huge gap between the deity and the ordinary person. The painting presents the status difference between the prince and the Nymph that a prince is a mortal person while the other one is the deity high above. Nymph of the Luo River is created in a long scroll, Gu puts different plots into one scroll, the character Cao Zhi and the Nymph appear in different location within a complete scene, creates a spectacle frame that is very compelling. It seems that they are not able to touch each other, as their communication is based on language and behaviors with certain distances in the entire process. Nymph of the Luo River presents the story through continuous pictures, and one figure appears in the painting repeatedly. Besides, the landscape scenes are not only the still life but also the background of the story in continuous pictures. The companions and the landscape around the two characters are arranged properly according to the specific surroundings, being sparse or dense in different spaces. The mountain, stones, trees, and river divide the plots clearly, making the scenes separate but linked. The surroundings of Nymph are composed of mythical creatures, beautiful lotus, and Anser cygnoides. They indicate the holy image of Nymph, setting off her lithe posture. Correspondingly, the surroundings of Cao Zhi are arranged with things in the mundane world only, such as trees and horse. Thus, the identity of the two characters is shaped differently through the different structures of space. Another approach for Gu to highlight the different status of Cao Zhi and Nymph is the description of their overall forms, including gestures, facial expressions, and the clothing. The first scene when the scroll is unfolded is the Cao Zhi who is standing on the shore with a stagnate expression. His looks at the Nymph物理代写美国代写 编程代写 dissertation代写
加拿大exam代考 infatuatedly who is on the wave distantly. The Nymph combs her hairs delicately, her dress is fluttering with breeze, making a sense of the divinity. She is about to leave but also wants to stay. The second scroll is about the meeting between Cao Zhi and Nymph and they still keep certain distances, the facial expression of Cao is enamored and exciting and that of Nymph is shy and restraining. The final scroll presents the parting between the two persons. Nymph is leaving in the clouds and leaves Cao Zhi on the shore only, they are both fistful but have to depart. Be different from the affair between deity and the ordinary person in the west which shows an open attitude, Nymph of the Luo River presents an introverted feature, the characteristic of Chinese.
Nymph of the Luo River indicates a different attitude to love between the deity and the ordinary person from that in the West that one is introverted while the other one is open and hot. The directest difference is presented by the gender identity. It is typical in Chinese myth love story that the gender of the deity in the story is the female and that of the ordinary person is the male. In China, the female is the part which asks for the male to pursue, and the initiative is mastered by the male while the conditions of the female do great importance. The design of the Nymph reflects the male’s thoughts that they would like to pursue a female who has a beautiful look. Besides, these deities are all high above and purity. They are beautiful, holy, kind, and innocent. Oppositely, the gender of the deity in West love story is usually the male and the other part is the female. The male deities are only the incarnation of the ordinary person in divinity, which could be seen from the description that the Greek deities always keen on the pursuit of the mortal female. They are the same as the human males who are capricious, love pleasure, and have strong sense of vanity, jealousy, revenge, and power. Besides, they also betrayal with the beautiful mortal woman. The reasons to explain the difference between the western and the eastern myth love story lies in the different traditions. As is well known, Chinese people are经济学代写
implicit and the traditional thoughts think that the marriage can be arranged by the elder generation only. Chinese traditional idea of equality is an important concept in Chinese culture, and only those people who have equal or similar social statuses are considered a perfect match, especially in marriage. Inversely, the westerns are unrestrained and dare to pursue love and sexuality enjoyment.
Actually, the depart between Cao Zhi and Nymph is an inevitable consequence due to the social status in that dynasty. The social atmosphere in the Three Kingdoms period shows a preferential treatment to the male, especially the male in the royal. The social system is that the male rulers are polygamous, including one main wife and more than one concubines, in which the main wife ranks first. No matter the main wife or the concubine should obey the order of the male rulers to ensure that the patriarchal line would be maintained to rule the ruling family. As a result, it is impossible for Cao Zhi and Nymph to have a happy ending, as Nymph is a deity and is not able to obey the order of a mortal male. Thus, it will be a question that whether Nymph or Cao Zhi should be the ruler of the family, as one is the deity who is superior to the ordinary person and the other is the ruler in the mortal society and females should obey his order. Besides, the emperor doesn’t have the right to fall in love with a particular woman. The primary duty of the emperor, or the candidate, is to abandon love due to the reason that love and infatuation will bind the ruler, cause him to make unwise decisions, and break the balance which has existed already between women. The confront of Cao Zhi and Nymph is driven by love, but as a princess, Cao Zhi grows up as the candidate of the emperor, meaning that he is not permitted to have the sense of love to a woman. What’s more, the main duty for the main wife is to manage the affairs in the family, or balancing the relation in the rear palace. Nevertheless, the self-esteem of Nymph will not allow her to receive the existence of other concubines and must act generously to them, especially when the male has to treat his women fairly.
As a whole, Nymph of the Luo River by Gu Kaizhi records the dreamlike love story between the Nymph and Cao Zhi, which is ended with an inevitable departing. The visual effect in the painting presents the different social status of Cao Zhi and Nymph through the combination of landscape background and the detailed description of the form. The distribution of Nymph is creatures of divinity, indicating the holy state and the identity of the deity. Differently, the arrangement of the surroundings of Cao Zhi is composed of thing in the mortal world, showing the identity of the ordinary person. Besides, the delicate makeup of Nymph and the forced depart also indicate the difference between the two characters. There is a huge difference between Chinese myth love story and West myth. Due to the different national traditions. Specifically, Chinese are introverted while the Westerns are open. The directest difference is gender identity that Chinese deity is female while West deity is male. The personality of the deity is also unlike that nymph is holy while the male god has a complex quality. What’s more, it is inevitable for the depart between Nymph of the Luo River and Cao Zhi because of their identity and the Polygamous system in China which asks for a male ruler.
References
Chen, Lianshan. Chinese Myths and Legends. Cambridge:Cambridge University Press, 2011.
Edmunds, Lowell. Approaches to Greek Myth. Baltimore: JHU Press. 2014.
Hung, Wu, et al.. Three Thousand Years of Chinese Painting. New Haven: Yale University
Press, 1999.
McMahon, Keith. “The Institution and Values of Royal Polygamy.” In Women Shall Not
Rule: Imperial Wives and Concubines in China from Han to Liao, 9-39.
Lanham: Rowman & Littlefield Publishers, 2013.
Shih, Hsio-yen. “Poetry Illustration and the Works of Ku K’ai-chih.” In Translation of Art,
ed. James C. Y. Watt. Hong Kong : Chinese University of Hong Kong. 1976. 6.
