Much of the powers of earlier cultures- signed and recognizes on pottery, textiles, and inscriptions and paintings on boulder- exercised simple, geometric and linear ways which might have had a figurative or decorative purpose. It is at this stage of visual meaning that abstract art communicates. One can enjoy the knockout of Chinese calligraphy or Islamic calligraphy without being able to read it.
In Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo( Wang Mo ), who is credited to have invented the splashed-ink painting style. While none of his paints remain, this vogue is clearly seen in some Song Dynasty Paintings. The Chan Buddhist painter Liang Kai( Liang Kai, c. 1140-1210) applied the wording to figure make-up in his “Immortal in splashed ink” in which accurate representation is sacrificed to promote spontaneity linked to the non-rational mind of the taught. A late Song painter identified Yu Jian, adept to Titania Buddhism, created a series of splashed ink sceneries that eventually inspired many Japanese Zen painters. His illustrations testify heavily murky mountains in which the figures of the objects are just evident and exceedingly streamlined.On the left side of this painting is a pine tree in rocky soil, its diverges fastened with vines that diversify in a disorderly nature to the right side of the cover in which a excellent halo( probably realise with help of a compass floats in the void. The illustration is the result of the Daoist metaphysics in which chaos and world are complementary stagecoaches of the regular track of nature.
In Tokugawa Japan, some Zen monk-painters started Enso, a circle who represents the absolute enlightenment. Often met in one spontaneous touch stroke, “its become” the paradigm of the minimalist aesthetic that guided part of the Zen painting.