What characteristics of Western painting have been absorbed by Chinese painting?

From the twentieth century onwards, with the deepening of cultural exchanges with the West, the language and concepts of Western painting were gradually introduced into the field of Chinese painting, which led to the unprecedented prosperity of Chinese painting and the emergence of many schools of painting and styles of art at this level. The richness of the color language has expanded the connotation of "assigning colors according to categories", and the composition, deformation and texture of modern Western paintings have provided unlimited space for the creation of Chinese paintings. The use of new materials and the guidance of new ideas gave Chinese painting a new source of life. Lin Fengmian, Xu Beihong and other pioneers have better blended Eastern and Western painting together, transforming the foreign into the Chinese, forming a new painting language and promoting the development of Chinese painting, especially the realistic and romantic styles. In recent years, there have been absorbed Japanese painting techniques in brush painting, thus enriching the forms and means of Chinese painting. For example, Huang Binhong, a master of Chinese painting, incorporated light, dots and haziness in Western painting into his Chinese painting to express the spirit of traditional Chinese art, establishing a peak in the history of the development of Chinese painting, and was revered as the top figure of traditional Chinese painting. He also had a definitive statement on the absorption of Chinese painting: "Now we should stand up on our own, carry forward the spirit of our nation, extend our arms to the world, and be ready to shake hands with any comer", "There is no difference between Chinese and Western paintings, there are brushes and inks, and they can be left to nature, and they can go from the resemblance of form to the resemblance of God, that is to say, the impression of Western paintings is abstracted ". It can be seen that whether from the idea, content or to the form, technique, the influence of Western culture and art provoked by the great changes in Chinese painting, is unprecedented in history. This great influence is mainly in the following aspects: First, the expansion of the field of expression of Chinese painting and the West's emphasis on wisdom and knowledge of the main cultural opposite, as an important part of traditional Chinese culture, Chinese painting has a strong sense of morality. In the West, from Socrates' "Knowledge is Morality" to Bacon's "Knowledge is Power", knowledge (truth-seeking, intellectualism, mastery of knowledge) is an important component in Western culture. The moral consciousness of traditional Chinese culture is mainly manifested in the paintings: the value of art is based on morality; the high and low quality of paintings is the high and low quality of human character. The unique realm of Chinese paintings, the noble and vulgar recluse feelings, the chest of escape ......, etc., are the expression of the traditional Chinese morality; the four gentlemen, the age of cold three friends, double Qing ...... and other subjects, are the symbol of morality. Since the introduction of Western culture into China, it has provided reference for Chinese painting in terms of creative content, making many awakened Chinese painting painters realize that the moral consciousness embedded in Chinese words has become a bottleneck restricting the development of Chinese painting. The beauty of the human body, the beauty of still life, the beauty of nature, the beauty of life, the beauty of society, and even all the handicaps of the earth, the plight of the people, and any ordinary person or object under the view of the Western cultural consciousness can express the painter's feelings and become the subject matter of painting. It can also produce the beauty of art and discover the value of humanity. This pursuit of diversified values under the influence of Western culture broke through the original barriers of Chinese painting and expanded the world of artistic expression, which is undoubtedly the most fundamental and profound influence of Western modernism on Chinese painting. Secondly, it promotes the formation of conscious awareness of Chinese painting. As mentioned above, the evaluation standard of traditional Chinese painting is often based on the moral values expressed in the content. Under the guidance of this idea, the content of traditional Chinese painting is also based on moral and literary themes, and the independence of painting itself is poorer. Since Impressionism, modern Western painting has become an independent form of art, i.e., it aims at modeling and excludes descriptive and didactic contents. Although Chinese painting cannot completely follow the Western practice, it is also an important change under the influence of Western modernism to get rid of the past uniform attachment to morality and literature in terms of content or theme, and to get rid of Chinese painting as an illustration of morality and literature, so that Chinese painting can gradually get rid of traditional stereotypes and move towards the independence of painting. Third, the transformation of painting language such as modeling and structure The ontological language of Chinese painting is constantly impacted and infiltrated by the Western discourse system. Decent modeling and color concepts impinge on the language of brush and ink, so that Chinese painting undergoes structural and conceptual morphological changes. This marginalized language of non-brush and ink on the one hand brings an opportunity for reintegration of the ontology, and on the other hand shakes the fundamental standard of "the center of brush and ink". Huang Binhong said: "To push forward the old and bring forth the new is like the four seasons of the year, the spring flowing out of the gully, traveling far and wide, but not easy to be constant." This is "constant". This "constant" is the most basic standard of ink and brushwork and the spirit of "inner beauty" such as conveying feelings, creating situations, and abstract expression. Lin Fengmian once proposed to change the traditional Chinese painting with the form of innovation, "the art is trapped in the boredom of the pastime of the play pen," the decline of the situation, and advocate that art should reflect the needs of the times, to express the spirit of modernity. According to American scholar Daniel Bell, modern city life is characterized by an emphasis on its visual nature, because "one, the modern world is an urban world. ...... The second is the nature of the contemporary tendency, which includes a desire for action (as opposed to spectatorship), a quest for novelty, and an insatiable appetite for sensation. And there is nothing better than the visual component of art to satisfy these urgent desires."