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I began to investigate a bit and read a book called The Mustard Seed Garden Manual of Painting. This was written in China in the 1600s (which, coincidentally, is the baroque period in the West). What struck me is that their understanding of the natural world and how man relates to it is in accordance with the Christian worldview. The Daoist worldview does not include God, but it does recognize heaven, a place that is non-material. The natural world reflects a heavenly order and the task of man and his work is to act in harmony with it. Therefore, just like the Christian painters of the same period, they saw the beauty of the natural world as something that pointed to a place beyond it that was non-material. When we apprehend the beauty of nature, we perceive intuitively the harmonious relationships that exist between the parts; and the harmonious relationship of the whole to God (for the Christian), and to heaven (for the Daoist). As a Catholic I say that all harmony is derived from the harmonious relationships that are intrinsic to God, between the persons of the Trinity.
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‘Man’s standards are conditioned by those of Earth, the standard of Earth by those of Heaven, the standard of Heaven by that of the Way [Tao] and the standard of the Way is that of its own intrinsic nature.’ Lao Tzu, (from Tao Te Ching, XXV, 6th century BC)
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The landscape tradition is much older in the China than in Europe, and I would say that this representation of the balance between the particular and the whole was at a much more mature in Chinese art than in the baroque landscapes of this period. Part of the training of any artist should be the study of the work of Masters in their tradition. Any artist wishing to specialize in landscape could benefit from the study of Chinese landscapes, I suggest, even if the ultimate aim is a Western form.