Le thème chinois des « Quatre Dormants » et sa résurgence dans le monde musulman - article ; n°1 ; vol.42, pg 59-64

François Berthier, Annie Berthier

Description

Arts asiatiques - Année 1987 - Volume 42 - Numéro 1 - Pages 59-64
Having already made its appearance in the tenth century work of Shike, the theme of the Four Sleepers continued, in the fourteenth century, to provide subject matter for Chan (Zen) painters both in China, during the Yuan period, and also in Japan.
Just as China had been influenced by spiritual contributions coming to her from the west, so she, in return, began to export her own culture westwards along the Silk Route until it reached distant countries far beyond even the great intellectual clearinghouse of Iran. Buddhist ideas, in particular, travelled steadily from oasis to oasis and from cliff to cliff, passing on their way the India of their origins, until they succeeded in reaching points very much further to the west. In the Topkapi Saray Museum at Istambul, a city connecting two continents, there is a small painting which shows the Sino Japanese Four Sleepers. The work is on a modest scale; but, nevertheless, its historical significance is very great and renders it worthy of special attention and study, since it forges a subtle and undeniable link between the world of the Far East and that of Islamic Turkey.
6 pages
Source : Persée ; Ministère de la jeunesse, de l’éducation nationale et de la recherche, Direction de l’enseignement supérieur, Sous-direction des bibliothèques et de la documentation.

Sujets

• Sciences et techniques

Informations

• Publié par: Arts-asiatiques
• Publié le: 01 janvier 1987
• Nombre de lectures: 11
• Langue: Français

Extrait

Annie Berthier

François Berthier

Le thème chinois des « Quatre Dormants » et sa résurgence

dans le monde musulman

In: Arts asiatiques. Tome 42, 1987. pp. 59-64.

Abstract

Having already made its appearance in the tenth century work of Shike, the theme of the "Four Sleepers" continued, in the

fourteenth century, to provide subject matter for Chan (Zen) painters both in China, during the Yuan period, and also in Japan.

Just as China had been influenced by spiritual contributions coming to her from the west, so she, in return, began to export her

own culture westwards along the Silk Route until it reached distant countries far beyond even the great intellectual clearinghouse

of Iran. Buddhist ideas, in particular, travelled steadily from oasis to oasis and from cliff to cliff, passing on their way the India of

their origins, until they succeeded in reaching points very much further to the west. In the Topkapi Saray Museum at Istambul, a

city connecting two continents, there is a small painting which shows the Sino Japanese "Four Sleepers". The work is on a

modest scale; but, nevertheless, its historical significance is very great and renders it worthy of special attention and study, since

it forges a subtle and undeniable link between the world of the Far East and that of Islamic Turkey.

Citer ce document / Cite this document :

Berthier Annie, Berthier François. Le thème chinois des « Quatre Dormants » et sa résurgence dans le monde musulman. In:

Arts asiatiques. Tome 42, 1987. pp. 59-64.

doi : 10.3406/arasi.1987.1216

http://www.persee.fr/web/revues/home/prescript/article/arasi_0004-3958_1987_num_42_1_1216