Difference between Chinese and Western Painting1000

Western culture embodies the conquest of nature. The relationship between man and nature in the East is "unity of heaven and mankind", and the way of thinking in the East is comprehensive, while the way of thinking in the West is analytical. Western painting respects form and requires realistic modeling. Chinese painting respects the feeling, requires the painting of the mood, the unity of man and nature; Chinese painting is similar to God, Western painting is similar; Chinese painting is a symbol, Western painting is a photographic.

An Introduction to the Difference between Chinese and Western Painting

The difference between Chinese and Western aesthetics due to the different social backgrounds, habits of thought and cosmology of Chinese and Western art has led to the formation of different histories and styles of the two major art systems of China and the West and the plurality of art horizons and art creations generated by the two systems. Chinese painting is the main type of traditional Chinese painting. In ancient times, there was no definite name for it, and it was generally called "danqing", which mainly referred to scroll paintings painted on silk or paper and mounted. Since modern times, in order to distinguish it from foreign paintings such as oil paintings imported from the West, it has been called Chinese painting, or "national painting" for short. Oil painting first originated in Europe and was invented by the Dutch around the 15th century. They are the representatives of these two systems of painting, in many aspects of the existence of a very strong artistic personality, now from the following aspects to discuss the differences between Chinese and Western painting:

First of all, the medium, the material is different.

Chinese painting is a painting created with the unique Chinese brushes, ink and pigments, in accordance with the long-established forms of expression and the laws of art. According to the materials used and the methods of expression, Chinese painting can be subdivided into ink painting, heavy color, light red, brushwork, writing, white drawing and so on; according to its subject matter, there are figure paintings, landscape paintings, flower and bird paintings and so on. There are various forms of Chinese paintings, such as horizontal scrolls and horizontal ponchos, vertical banners and centerpieces, full-size albums and doufangs, and folding fans and fans painted on the top of fans. In terms of ideological content and artistic creation, Chinese paintings reflect the social consciousness and aesthetic taste of the Chinese nation, and concentrate on the Chinese people's understanding of nature, society and the political, philosophical, religious, moral, literary and artistic aspects associated with it.

Oil painting using linseed oil blended pigments, opaque, strong covering power, so painting can be from deep to shallow, layer by layer coverage, can make the painting stacked into a shallow relief like the three-dimensional color layer, but also transparent colors can be used to cause layers of overdyeing of the rich effect of a high point that can cause the visual concentration of the glory of the three-dimensional space and three-dimensional feeling. Painting on treated cloth or board does not change color after drying, and multiple color blends do not become dirty, allowing the artist to paint rich, realistic colors. Oil painting is suitable for the creation of large, epic masterpieces, and thus became the main painting method in the history of Western painting.In the late 19th century, due to the development of technology, many new materials were applied to the field of oil painting, such as acrylic paints, lacquers and so on.

Secondly, the use of line and color is different.

Chinese painting is basically composed of lines, ink clusters and fine ink dots, which are nothing more than the expansion and reduction of the line, and they are very concerned about the bone force. The tip of the brush, the belly of the brush, the root of the brush will produce different flavors of lines. When the brush is being used, there are also changes in the strokes, such as center, side, recumbent, reverse, dragging, and hidden strokes. Its use of line embodiment of the full, "eighteen strokes", "fourteen chapped" richly embodies the line and ink painting of the sparse and dense, light and heavy, thick and thin, dry and wet and other laws of the opposite, these laws reflect a musicality, abstraction, emotion, feeling, the painter through the Through the temporal sense of movement and rhythm caused by the brushes' swiftness, linking, bluntness, filing, rigidity and softness, the painter's subjective emotion remains on the paper. Therefore, Chinese painting can also be said to be the art of line. The beauty of its form is the musicality produced by the rhythm of the intertwining lines. The color of Chinese painting is also abstract, it doesn't imitate the color of concrete objects, but constructs the tone of the color intentionally. The "five colors of ink" in Chinese painting means that the rhythm of ink can create a rich illusion of color and produce flashes of color. It is either simple hue, saturated chromaticity, resulting in a loud and brilliant effect; or weakened chromaticity, narrowing the difference between the hues, to create the effect of calm and profound.

Oil painting is mainly composed of light and shadow, dark and light tones, the use of light, shadow and layers of color overlay oil paintings, can depict the character's skin delicate color changes, people feel the blood flowing under the skin. The dark or shadowed objects produce a stable, deep sense of volume and space, and increase the color saturation of the picture. Oil painting takes the rhythm of light and shadow as its formal aesthetic characteristics, pursuing the sense of reality, three-dimensionality, rhythm, light and darkness. The pursuit of the rhythm of light and shadow first leads to the understanding of the structure of the object mass, and the line serves for decency. The concretization of light is color, color is not only the most important means of modeling, but also the most important means of expression. Such as Impressionism and its subsequent to the creative active spirit to use color, they in the color of nature after careful observation, analysis, understanding, in the objective object to obtain the color of the sharp, strong feelings and the overall tonal understanding of the color, at the same time require the initiative, there is a quest to express the color, emphasizing the color of the imagination, they pay attention to the light and shadow, the color produced by the role of the mind, noting that the color on the They pay attention to the spiritual effect of light and shadow and color, and notice the implication of color on the human mind. When they observe nature, they think about the relationship between "light" and "color" in nature, and they are enchanted by the strong change of light and color and the sense of air.

Once again, perspective and realism are different.

The spatial treatment in Chinese paintings is the dispersed perspective, which means that the composition of the picture is not limited by time and space, and it is a method of expression that combines time and space. The spatial characteristics of Chinese landscape painting are closer to the transformation of time and space, and are good at grasping the mystery of the movement of life. Guo Xi of the Song Dynasty put forward the "Three Distant Methods" which can give the painter a wide world to operate the position, the painter can use the three distant methods to arrange the image in a comprehensive and staggered manner on a painting, and in a long scroll, it can make the scenery have ups and downs, hidden and obvious, open and close, combining the effects of scattered perspective and artistic expression together. Scattered-point perspective makes Chinese painting see the infinite from the finite, and then return to the finite from the infinite, which is so cyclical and rhythmic that it brings a sense of musical rhythm and harmony to the picture as a whole. In general, Chinese painting tends to be expressive, its connotation, metaphor, inexpressible meaning, meaning outside the words show that Chinese art emphasizes the spirit of nature, emphasizes the "meaning outside the image", the meaning outside the image, outside the image of the feelings of the art of the aesthetic object from the external world to the internal world, and the art of the conductive force from the reproduction to the performance. The central concept of Chinese painting is "qi yun vivid". The "qi" is the inner passion of the painter's impulse "rhyme" is the "qi" expressed in the picture of a certain flavor, interest.

Focal perspective, like a camera, the focal length of the place where the focus is aligned clearly, outside the concentration of fuzzy, so as to show the distance. From the principle of physics, with a fixed point of view to express the same space. This kind of perspective has only one fixed point of view, direction and field of view, and painting is limited to the field of view determined by this point of view and direction of view. In the late 19th century, the Western modernists launched an attack on the traditional Western focal perspective, but they could not deny the deep-rooted tradition of Western focal perspective, nor could they deny the essence of it in the modernists, such as the photorealism of the Western modernists, who could still see the perfect embodiment of the traditional focal perspective in the image. The aesthetic interest of Western art lies in truth and beauty, and it is very much in pursuit of the reality of the object and the reality of the environment. In order to achieve realistic artistic effect, pay close attention to the proportion, light and dark, perspective, anatomy, chromaticity, chromaticity and other scientific laws, using optics, geometry, anatomy, color science and so on as the scientific basis.

Fourth, the combination of poetry and painting is different.

Chinese painting, poetry, calligraphy, painting, printing, organic combination, seamless, mirror each other *** with the creation of a complete artistic image. Chinese painting can have a title, mainly based on the Chinese painting brush and ink lines of abstract, super-real image of the form of structure, and calligraphy, seals, a little bit of the spirit of the vein, in the picture appears to be very harmonious. The flexible spatial form of Chinese painting can accommodate the inscription, and make the calligraphy of the inscription organically become a part of the painting, so that the rhythm of the composition, the rhythm of the lines, the rhythm of the ink and the brush is louder, richer and fuller, and the inner form of poetry and painting are compatible with each other. Poetry and painting are in harmony with each other, first of all, it is the compatibility of the mood, the feelings in the chest at the same time as the poem and painting, so that in the form of natural fusion, each other as the table. In the limited image of the picture contains unlimited invisible feelings.

When modern Western aesthetics was inaugurated, the German Lessing put forward the "Poetry and Painting Divide" in Laocoon, pointing out that painting depicts objects that are simultaneously juxtaposed in space by means of lines and colors, and therefore painting is not suitable for dealing with the movement, change, and plot of things. Poetry recounts action that lasts through time through language and sound, so it is unsuitable for depicting stationary objects fully and realistically. The two aspects of Western drama and painting give rise to the aesthetic characteristic of Western painting of using drama into painting. In ancient Greco-Roman to Renaissance period, painting with drama, with dramatic plot, action as the inner frame of the picture, is a common phenomenon in art.

Fifth, the painter's hand is different.

Painters of Chinese paintings are mostly "amateur world", officials, literati, scholar, painting is just a pastime. The "professional world" is often a painter, their works remain in the temple. Chinese painting emphasizes "one breath", so the work is mostly completed in one go. Oil painters, on the other hand, generally have a strong professionalism, and can only learn painting techniques after a long period of rigorous training in a manual workshop. Oil paintings must be modified many times before the effect can be obtained.

Finally, the aesthetic orientation is different.

China's classical philosophical thinking "unity of heaven and man" indicates that people from the aesthetic to the interpersonal, back to life. Painting works of the spirit and flesh, emotion and reason. It is balanced in the middle, with nature, and emphasizes the importance of this. Ancient Chinese painters mostly viewed the social function of painting with Confucianism, while the aesthetic aspect was guided by the ideas of Taoism and Buddhism, and the cosmology of Taoism and Buddhism was used to comprehend nature. The aesthetic psychology of Chinese painting requires that what is depicted directly appeal to the human senses, to human emotions and imagination, that is, "the unity of heaven and man".

The Western classical philosophical idea of "the unity of God and man" indicates that people from the aesthetic to religion, conversion to God. Paintings honor the soul, despise the body, and hope to atone to God for their sins in order to seek an afterlife.

Different ethnic groups must have their own specific history, national character, psychological quality, cultural background, customs and folklore, and their artistic concepts and artistic ideals. If we say that Chinese art is still intentional, then the West is still form; Chinese paintings emphasize on expression and emotion, while Western paintings emphasize on reproduction and rationality; Chinese paintings use lines as the main means of modeling, while Western paintings mainly use light and color to express objects; Chinese paintings are not limited by space and time, while Western paintings strictly abide by the boundaries of space and time. These distinctive differences have become the two major systems in the world of fine art