The Melodic Landscape: Chinese Mountains in Painting-Poetry and Deleuze/Guattari's Refrains

• Published in: Deleuze & Guattari Studies 2013-08, Vol.7 (3), p.360-376
• Main Author: Wong, Kin Yuen
• Format: Article
• Language: English
• Subjects: Animals; Artists; Confucianism; Humanities; Landscape art; Merleau-Ponty, Maurice (1908-1961); Mountains; Music; Philosophy and Religion; Poetry; Taoism
• ISSN: 1750-2241; 2398-9777; 1755-1684; 2398-9785
• DOI: 10.3366/dls.2013.0117

By melodic landscape, this paper points to natural milieus such as mountains whose motifs are caught up in contrapuntal relations. With Merleau-Ponty, the structure of the world is a symphony, and the production of life which implicates both organism and environment as unfurling of Umwelt is 'a melody that sings itself'. For the Chinese culture, mountains have been deemed virtuous in Confucianism, immortal by Daoists, and spiritual for a Buddhist to reach a substrate level of pure stream of a-subjective consciousness. A Chinese painter-poet within the 'mountain-water' genre would consider mountains as performance of events, a concert of vibration of light, shape and sound, movement and rest. Insofar as art is to create energy transfer, Chinese artists of mountains aim at concerting with nature as organised by rhythms and conspecifics, unfolding contrapuntal melodies with all kinds of counterpoints. As Deleuze and Guattari's notion of refrains are the three forces or tempos of chaos, earth and world confronting/converging one another, this paper endeavours to find out, first, how Deleuze and Guattari's geological, organic and alloplastic stratifications can be put alongside mountains, animals, plants and arts, and second, how this notion can contribute to our new appreciation of the way Chinese mountains in arts can give out music.