Be specific! Where are the aesthetic differences between Chinese and Western sculpture?

Chinese and Western sculpture in its development vein shows a very different aesthetic style, this paper tries to geographic environment, way of thinking, cultural origin, philosophical quality and other aspects of the sculpture of the psychological impact on the art of sculpture to start, to explore the inherent laws of Chinese and Western sculpture art.

Keywords: geographic environment, way of thinking, logos, God-like, shape-like

Western arts have strict boundaries between the various disciplines of art, there is a specific method of expression, while China's arts are *** through the mutual understanding. This is due to the different cultural psychology between China and the West. Take sculpture as an example, the western sculpture art has its own specific rules and methods of creation, while the Chinese sculpture shows a close combination with the art of painting, such as the so-called "plastic painting quality". Why do Chinese and Western sculpture arts show different art forms? Mainly in the geographical environment, cultural origin, philosophical quality and other aspects of the sculpture art.

I, the influence of the geographical environment

The geographical environment and geographical conditions have a direct impact on the sculpture of art and formation, which is an indisputable objective fact. As we all know, traditional Chinese culture has a long history, cultural traditions, in addition to the inheritance and development of the situation, almost no trace of rupture, Western culture is constantly denied and constantly rebuilt, many scholars believe that this is closely related to their respective geographic conditions, but exactly what kind of relationship is it?

From a geographical point of view, Chinese culture and Western culture are a pair of contradictory categories. From the geographical conditions of the climate conditions to analyze the Chinese culture, we can find that the Chinese culture in the process of historical development by the influence of the climate conditions and the corresponding changes, this is the culture of a kind of adaptation to the environment, China's history of turmoil, recession period of the temperature change is relatively large, but in the process of development of some of the prosperity, the climate of the period of peace is relatively mild, this is not just a coincidence, but also a phenomenon that is not only a coincidence, but also a phenomenon that is not the case. This is not only a coincidence, but also an adaptation to the changes in climate.

China is located in the eastern part of Asia, west of the Pacific Ocean, the geographic environment is closed, its cultural characteristics have a strong self-circularity, the closed geographical environment to avoid the impact of foreign culture to ensure the objective conditions. Geographically, the natural formation of the west high east low terraced, from the distribution of resources also for pastoralism, agriculture, agriculture and animal husbandry to make a clear geographic division, for the Yellow River, the middle and lower reaches of the Yangtze River became the cradle of ancient civilization laid down the objective conditions, and at the same time, for the reproduction of the Chinese nation, the continuation of the Chinese culture provides an important support. The vastness of China determines that Chinese sculpture is characterized by a wide range of subjects, including not only figures, animals, fictional animals (dragons, phoenixes, unicorns, etc.), human and animal forms (Nuwa, Fuxi's human head and snake body), but also landscapes, forests, clouds and mist, myths and legends, historical stories, scenes of life, and a large number of animal artifacts. Especially in the early sculpture art, there is no clear distinction between the various subjects, nor between the primary and secondary ones. However, its closed nature is also emphatically revealed, and more and more occupy the main position, in China's later sculpture, especially after the rise of religious sculpture, the human figure can be fully developed. The subject matter of scenery, animals and plants, on the other hand, reflects to a certain extent the totemic culture and naturalistic spirit of ancient Chinese culture. However, the gods and men in religious sculpture are integrated with each other, the gods will come down to earth, people can ascend to heaven, emperors and heroes are its representatives, and thus since the Shang and Zhou dynasties, the patriarchal system has become an important bond of social organization. This feudal patriarchal system and ritual culture, formed the sculpture function of the closed characteristics, sculpture is either buried underground as a burial, or placed in front of the emperor's mausoleum as a ceremonial guard. Sculpture became a kind of subsidiary of the patriarchal system, losing its independent aesthetic character.

The emergence of Western sculpture is also the first as a decorative art of architecture, but in a relatively short period of time it has gained an independent status. Europe is located in the temperate zone, the geographical differences are relatively small, but the heavy mountains of the Alps, Spain's rolling hills, Iceland's vast glaciers, but also in the geographic differences in the cultivation of Europeans different national personalities, different cultures, in the objective formation of cultural diversity. Ancient Greece's gods and goddesses and people of the same shape and homogeneity, from top to bottom for the "God system", coupled with geographic factors such as the formation of alliances between city-states and city-states and city-states under the slavery of the democratic system. Therefore, its sculpture to the human body, the human figure as the theme, from the creation of ancient Greece and laid down the form of sculpture with a human theme, until the rise of modern sculpture in the 2500 years, the human figure has always occupied the dominant position of sculpture subject matter, the emergence of many outstanding sculpture of the human figure works. There are single and combined, action gestures colorful, which has a cultural connection with the ancient Greek concept of "man, is the measure of all things". With China's mausoleum sculpture and religious sculpture is different, a large number of Western portrait sculpture placed in the square and the street, thus showing the sculpture function of the art of public **** sexual characteristics.

This kind of closed and public **** is not only the biggest difference between Chinese and Western sculpture for more than 2000 years in the subject matter and culture, but also reveals that the ancient Chinese mausoleum sculpture is the art of service for the dead, and most of the Western portrait sculpture is for the living to appreciate the art, showing the difference between the two in terms of purpose and function. The different geographic environments of China and the West determined their different lifestyles, and the different lifestyles determined different social organizational structures. It can be said that the geographic closure of the formation of the Chinese culture of monolithic, monolithic and prompted more than two thousand years of Chinese feudalism continuous; European openness and the formation of the European migration and trade, but also contributed to the political democracy and the division of the country.

Second, the difference between the thinking mode

Contrasting the thinking mode of Chinese and Western cultures, we will find that the thinking mode of traditional Chinese art pursues the integration of two into one, and regards the universe as a unified whole, which is a comprehensive monism; while the thinking mode of traditional Western art is analyzing as a means to regard the world as different parts, and seeks to divide the world into two, which is an analytic dualism. In the process of the development of Chinese and Western thinking modes, Western culture has formed a thinking mode that emphasizes logical reasoning, which combines the scientism and idealism of Ancient Greece, and lays an important foundation for the paradigm of sculpture art; while Chinese culture has formed a way of thinking that emphasizes intuitive intention, which directly experiences, senses, and grasps the object through intuition. This way of thinking transcends logic, concepts and more long in the enlightenment, this so-called "clear understanding", "stone into gold", but also formed with the Western focus on the analysis of the abstract mode of thinking of different cultural qualities.

This cultural trait is expressed in the plastic arts, the formation of Chinese sculpture focuses on the intention of integration, focusing on the performance through the intention, which also formed the concept of Chinese art focus on creating the intention. This kind of thinking mode that favors symbolism, expression, and writing, pursuing the unity of beauty and goodness, and the western thinking mode that focuses on reproduction, imitation, and realism, pursuing the unity of beauty and truth, also creates the biggest difference between the traditional Chinese and western sculpture. Beauty" is the same pursuit of both Chinese and Western sculpture, but "goodness" embodies the Chinese "virtue", which is ethical, while "truth" embodies the Western sculpture. Goodness" embodies Chinese "virtue" and ethicality, while "truth" embodies the scientific and intellectual nature of Western sculpture. Based on the requirements of ethical, so Chinese sculpture art rarely appear nude human sculpture, based on the real and scientific requirements, the Western portrait sculpture art since ancient Greece is mainly human body, Western sculpture focus on the proportion of the form, structure, demeanor, turn, and ancient Chinese sculpture emphasizes the God, the gas, the so-called "God writing, is in the A plug in the ". From this point of view, contributed to the Western sculpture realistic, and Chinese sculpture realistic different characteristics. Ancient Chinese plastic arts since the colored pottery decoration, bronze patterns from the very focus on the expression of the intention, they contain cultural connotations and a deep understanding of modeling. Ancient Chinese sculpture in the shape of figures or animal images, and not deliberately to pursue strict proportions and anatomy, not to pursue the external image of the precise and cool Xiao Xiao, but pay attention to emotional feelings and experience, this focus, not in the object and the entity, but in the function, the relationship, and rhythm of the aesthetic consciousness, more concerned about the characters and animals of the grace and meaning, and to intentionally highlight, exaggerate or deformation, so that the image is more distinctive. The concept of form is integrated into Western art. Western art integrates the concept of form into the typology of geometric shapes, and under the support of the dual spirit of philosophy and science, from imitation of objects, it has reached a state of near-perfection in terms of proportionality and anatomy, and has provided a pathway to be followed by traditional human sculpture and modern abstract sculpture, so as to summarize the changes and movements of forms. And China to the concept of "form" to the "God" of the revelation, advocating the "God writing", "to write God in shape The concept of "form" was shifted to the revelation of "god", advocating the concepts of "reflecting god" and "writing god in form", emphasizing the importance of god over form, and focusing on the shaping of the character's spirit and personality traits. Therefore, ancient Chinese sculpture focuses on the performance of the characteristics of the inner temperament of the object, while the Western traditional sculpture focuses on the fine study of the external form, the formation of Chinese and Western sculpture intention modeling and simulation modeling two different ways.

Three, the philosophical quality of the vastly different

Western culture emphasizes the wisdom of the Oriental culture, but the feelings. The former is easy to know, the latter is hard to see.

All the doctrines of the West originated in philosophy, and in ancient Greece, the definition of philosophy is the study of love of wisdom. In the eyes of the ancient Greeks, what is the world made of, is water, fire, gas? Western philosophy began. Aristotelian logic, Euclidean geometry, are all products of wisdom. Archimedes scientific experiments are the manifestation of the West's emphasis on wisdom, but also the goblet of modern Western science.

What about Chinese philosophy? Confucius talked about benevolence, "the benevolent love others". The first thing I want to say is that I'm not a big fan of the idea, but I'm a big fan of the idea that I'm not a big fan of the idea. This kind of blood kinship is cut and cut, in the patriarchal society based on the cornerstone of Chinese culture. From the virtue of Yin and Zhou to the benevolence of Confucius, and from the benevolence of Confucius to the nature of Mencius, it is all about the warmth of blood. The core of Chinese knowledge is "Tao" and the core of Greek knowledge is "Logos".

The Tao of Chinese philosophy and the Logos of Western philosophy reflect the differences between Chinese and Western art. Logos is derived from the Greek word meaning "to gather," which later evolved into "to speak. The activity of collecting requires the classification and discrimination of objects, and at the same time, there are corresponding standards and criteria for classification and discrimination, so the logos originally meant "to divide". Logos has the meaning of speech, i.e., the word or the thing by which the inner thought is expressed, and the meaning of reason, i.e., the inner thought itself. Heraclitus used it to mean "reason that speaks" and believed that right reason expresses true principles. Today, we often use the word "reason" and "rationality" to translate "logos". The Logos narrative had strict rules, which led to the development of later forms of logical reasoning. The Word is ineffable, so there is a dualistic separation of "name" and "reality", and a distinction between "eternal" and "temporary". There are two possibilities of ineffability, one is that the Tao can only be preserved in its integrity when it is silent, so that those who know do not speak, and those who speak do not know; and the other is that the Tao cannot be conveyed in words. at the beginning of the twentieth century, the ineffability of the Tao had two consequences: first, it was difficult to encode and convey the true meaning of the Tao, which in turn affected the evolution of the organization of knowledge, and second, it was prone to misinterpretation, which made the activity of eliminating misunderstandings more important than the search for originality.

This is a question of likeness and resemblance in sculpture. Similarity" and "similarity", one is the rational treatment of the object; one is the emotional treatment of the object. In the field of sculpture is an eternal topic. The size of the problem and discursive analysis is out of the theoretical labyrinth.

The shape of the similar (referred to as shape), as the name suggests, is in the shape of the object resembles. But this meaning is different in different environments (Chinese and Western, ancient and modern ......). In Western Europe, ancient Greece and the Renaissance, the status of form is related to the success or failure of sculpture. In ancient China, the status of resemblance is a bit more subtle. Gu Kaizhi was an advocate of both form and spirit. His: "Transmitting the spirit to write the picture, being in the A witness." It has been quoted by later generations for thousands of years. Not only in painting, but also widely in the field of sculpture. Ancient Chinese sculpture of animals and human figures emphasized the resemblance of the gods and neglected the similarity of shapes. Thus, the lion carved in stone expresses its majesty and solemnity, and the religious sculpture projects in people's mind is often their expression rather than action posture. Divine resemblance is very difficult. First of all, it is not only to grasp the charm of the object, in the work of art to add their own feelings, so that the work of art has its own ideas is also another kind of resemblance. The cultural tradition of pursuing the divine (as in the case of the stone tiger in front of Huo Zhaodi's tomb) without regard to proportionality and material (as in the case of clay sculpture) is also evident in traditional Chinese sculpture. However, a few fine examples, such as the feeders at the Jin Temple and the Temple of the Two Immortals in Jincheng, Shanxi Province