What is the difference between the observation methods of western traditional art and China traditional art?

1

First of all, the materials of Chinese and western painting tools are different, so Chinese painting uses line modeling and color as ink, while western painting uses block modeling and color as color. Secondly, Chinese and western ways of thinking are different, so Chinese painting pays attention to expression and freehand brushwork, using scattered perspective, while western painting pays attention to reproduction and realism, using focus perspective. It is precisely because of the above characteristics that Chinese and western paintings give people different feelings.

First of all, the tools and materials used in Chinese and western painting are different. The tools and materials used in China's painting are pen, ink, paper (silk, silk) and inkstone, commonly known as Four Treasures of the Study. Pen refers to an elaborate pointed brush, whose hair is carefully selected from small animals with good fur, such as wolf hair, wool and double-stranded brush. Paper refers to China's unique Xuan paper (there are two kinds of raw and cooked, of which red skin and five-star clean skin are the best), which is soft in texture and good in blooming effect; Ink refers to high-grade oil smoke ink, which is irreplaceable by ordinary ink or any pigment. Through water can be divided into several levels, there is a saying that ink is divided into five colors, that is, dry, wet, thick, light and burnt; Inkstone is made of a unique stone (of which bloodstone is the most precious) and is specially used for grinding ink. The tools and materials of western painting are pens, paper (cloth), colors, knives and so on. Pens are made of flat bristles, just like brushes. Paper (cloth) is rough and thick, including watercolor paper, gouache paper, oil painting paper and canvas, and painting is made on the treated sack cloth. Color is one of the main materials of various western paintings. It expresses the image of things through hue and lightness. Generally, there are gouache, watercolor, oil painting and other colors (different colors are used for different paintings, and oil painting is used for oil painting); Knife is a special tool for scraping special effects and dealing with dirty colors when painting oil paintings.

Because China's painting pen is sharp, he decided to use lines to shape it. However, China's paintings have high requirements for lines. They pay attention to the shape changes such as straight line, thickness, shade and density, and the unity of organization, as well as the sense of movement and rhythm formed by combining rigidity with softness and light brushwork, which embodies the artistic beauty of line modeling. For example, Wu Daozi's "A Picture of a Heavenly King Sending a Son" and other ancient figure paintings, especially Kai Liang's "A Picture of Li Baixing", put Li Bai's bold personality and brilliant demeanor on the paper through a few scribbled words; Western painting uses a flat-headed pen, and each pen is a piece, which determines that it is modeled with a piece. It uses hue and lightness of color and brightness of light to express an objective image, and pays attention to the real effect of three-dimensional space, such as the picture effect of Leonardo da Vinci's The Last Supper.

The color feature of Chinese painting is thick ink and light color. The color it uses is a special traditional Chinese painting color (divided into watercolor and stone color), and the water is thin and wet, so the effect is thin and transparent. For example, the description of geisha and dancers by Gu, a famous painter in the Southern Tang Dynasty in the Five Dynasties, is enough to illustrate this point, that is, the meticulous and heavy-colored paintings in the later period also pay attention to the effect of moistening nature; Colors used in western painting (including oil painting, water pink, watercolor, etc.). ) Pay attention to the thick color blocks in the early stage, delicate brushwork and bold brushwork in the later stage, pay attention to the true reproduction of the color of objective things, and emphasize the light color effect with rich color changes, such as giorgione's The Tempest.

Secondly, Chinese and western ways of thinking are different. China's perceptual tradition and monistic world outlook are diametrically opposed to western rationalism and dualism. China's monist worldview holds that man and nature are unified and harmonious, and man is a part of nature. Related to this, it created the unique perceptual thinking mode of China people. Western dualism, on the other hand, separates man from nature, opposes man and nature, pays attention to man and his potential, and thinks that man can know and transform the world. Therefore, westerners advocate rational spirit.

Different ways of thinking between China and the West determine the internal differences between Chinese and Western arts. China's paintings pay attention to expression and freehand brushwork, that is, emphasize sensibility; Western painting emphasizes reproduction and realism, that is, it emphasizes rationality. This determines that Chinese and western paintings have different expressions. Chinese painting is not fixed on a foothold, nor is it limited by a fixed vision. Instead, according to the painter's feelings and needs, he moved his foothold to painting and absorbed all the visible and invisible scenery into his own picture, that is, he used the scattered perspective method. For example, Fan Kuan's The Journey to the West and Huang's Fuchun can't accurately reproduce the real scene, but they are lifelike and can bring people a kind of artistic beauty. Western painters use scientific perspective and chromatics to express the perspective of near, far and small focus and the spatial change of color. The image has a strong three-dimensional sense and is vivid and typical. Such as Raphael's Academy of Athens in the Renaissance and the Portrait of Pope Innocent X by the famous Spanish painter velazquez.

Therefore, Chinese and western traditional paintings make people feel that they are two different systems, giving people different feelings. China's landscape paintings fully show the beauty of nature, show personalized nature, and make people blend into the landscape, making people feel happy and natural. For example, You Chuntu by Zhan Ziqian is a green landscape painting depicting natural scenery, showing people's outing in spring. With proper management, meticulous brushwork and gorgeous colors, the painter painted a beautiful spring scenery with green mountains and green waters, lush flowers and trees, beautiful mountains and clear waters, and gorgeous high-rise yachts rippling with the waves on the sparkling lake. The three women on board looked around, intoxicated by the beautiful lakes and mountains, and lingered. A few people by the lake are riding horses, strolling along mountain paths, or standing on the shore with their hands outstretched, full of interest. Through vivid descriptions of various natural scenery and people's activities, the painter successfully embodies the theme of Youchun. China's flower-and-bird paintings have both form and spirit, which not only shows the beauty of flowers and birds, but also endows the painter with thoughts, feelings and vivid images. Chickens Waiting for Feeding depicts two lovely chickens lying upright. Through their open mouths and the pattern of looking in the same direction, we seem to hear their urgent "Ji Ji" call for the hens outside the picture. This cry may be the expression of joy when they see the hen, or it may be their unbearable hunger. Although the two chicks in the picture look in the same direction, the dynamics are completely different. One is to look forward, and the other is to look backward sideways, giving people a feeling of moving forward silently. This painting is very simple, without any scenery, but it is not rich in meaning. Although China's figure paintings can't clearly show people's appearance, the movements of the characters are very real. The Ode to Luoshen is based on Cao Zhi's literary work "The Ode to Luoshen", which depicts the poet Cao Zhi meeting his old lover who has become the Ode to Luoshen in Luoshui. In this painting, the painter skillfully reproduces the spiritual essence of literary works. The Luo God he portrayed seems to come and go, erratic, walking gracefully and emotionally on the water. However, Cao Zhi, who is in a state of indecision and trance, is far away from Luoshen on the shore of Luoshui, lingering, out of reach, and very vivid, showing infinite melancholy and sadness. As for western traditional painting, due to the development of anatomy and perspective, the reproducibility of western traditional painting reached its peak in the Renaissance. For example, in Leonardo da Vinci's Madonna among the Rocks, the Madonna occupies the center of the picture. She holds the infant St. John in her right hand, sits the infant Jesus in her left hand, and is followed by an angel, forming a triangle composition and responding to each other with gestures. The background is a deep cave dotted with flowers and plants, and the cave is completely exposed. The exquisite depiction of characters and backgrounds, the use of smoky brushwork, scientific realism, perspective and restoration in the painting show his superb level in dealing with the dialectical relationship between realistic realism and artistic treatment.

Finally, I want to explain that although China's paintings emphasize expression, they are never divorced from objective reality. For example, Qi Baishi's Shrimp is "between similarity and dissimilarity". Although western traditional painting emphasizes reproduction, it can be seen from the works of representative painters in various periods, especially in the Renaissance and later painters, artists always try to pour their emotions and consciousness into them. Both Chinese painting and western traditional painting can cultivate and appreciate people's beauty.

2

Abstract: the development of human art history is not a matter of one or several so-called excellent nationalities, nor can it be said that it is a phenomenon under the influence of several excellent cultures. In the process of art and culture, all ethnic groups have made unique contributions. The aesthetic characteristics of Chinese and western paintings are very different. China traditional painting emphasizes lyricism, while western traditional painting emphasizes imitating nature. China's paintings emphasize artistic conception, while western traditional paintings attach importance to human beauty. China's traditional painting presents a philosophical aesthetic tendency, while western traditional painting presents a scientific aesthetic tendency. The aesthetic basis of Chinese painting is "meaning", while western painting is subordinate to "expression". China's paintings pursue meaning beyond images, and lines and transcendental colors can fully express subjective feelings, which has become the main method of oriental art modeling. Europeans are committed to studying the natural properties of objects, and plastic arts make full use of natural science. With the help of the relationship between light and color, the expression of space, volume, structure and movement becomes the main modeling basis. The essence of China's aesthetics lies in respecting meaning and understanding. The understanding of truth is the "sublimated truth" after objects correspond to people's feelings. The aesthetic essence of the west is ok. They believe that the understanding of plastic arts must move from sensibility to rationality. Rational understanding must have a clear definition, aesthetics must have an objective basis and an accurate concept, reject the "understanding" of the East, and attach importance to the function of nature to gain people's aesthetic feeling and life experience.

Key words: the expression of God-making movement, sculpture movement, line modeling and block modeling.

Text:

The comparative study of world art is very interesting and attractive. Mankind has stepped into the threshold of civilization in several different regions of the world, but the state of development is different. Art and culture are closely related to other factors of human society, leading to extinction, extinction and endless life, which constitutes a colorful artistic civilization phenomenon. These phenomena gradually come into being, aggregate, interact and influence each other, which promotes the formation and development of artistic civilization. It is these colorful phenomena that prove that the development process of artistic civilization is by no means simple and straight. The history of human art, like other cultural history, is characterized by many twists and turns or even retrogression. Many artistic civilizations were finally interrupted and submerged. A considerable number of great artistic creations have disappeared in the long river of time, and many of them are unattainable peaks for future generations. Different fine arts will be produced under various specific conditions, and they cannot replace each other with the passage of time. However, the development and production of art have the same law. In fact, modern art has an ancient origin, while traditional art has contemporary significance. Many masterpieces in history have eternal charm.

In ancient times, human art had a great homosexual tendency from content to form, and many kinds of materials were used. This is because primitive people's social activities, ways of survival and means of survival are basically the same. Ideology is based on human display activities. Primitive paintings, whether in caves or on rock walls, all show the content related to hunting, except animals and humans living on them. Obvious simple, childish and rough style. At the beginning of entering the class society, due to the different cultural backgrounds such as region, political system and religion, different artistic aesthetic speculations and different artistic forms appeared in the world. Among the development of many national arts, there are two main routes with obvious differences that have the greatest influence on the development of human culture: First, the oriental art represented by China was born in the autocratic slavery society. This artistic creation is greatly controlled by religion and rights. It seems to embody a mysterious fantasy spirit. It covers up people's understanding and feelings about themselves and life, and integrates modeling language into the correspondence of gods to show the supremacy of gods. The bronze culture in China's Shang and Zhou Dynasties and the temples and pyramids in ancient Egypt are powerful witnesses, so the expression of art forms is affirmed, and the pursuit of interest has become the goal of modeling language. Later, this kind of art was developed and further improved because it adapted to the development of feudal society and culture to a great extent. The second is the artistic aesthetic concept that originated in ancient Greece and developed in Europe. It originated from democratic slavery in ancient Greece. At the beginning of the birth of art, it appeared to express group consciousness and affirm people's value. Artistic creation belongs to humanism, and it takes the ideal beauty of human beings as the requirement to shape gods or people. Therefore, plastic arts strive to discover and reveal beauty from objective things, starting from the ideal of social life. In order to achieve this goal, artists seriously study the most basic forms of expression embodied by objects. They believe that there is the highest aesthetic ideal in the universal attribute of matter, and the artist, as a symbol of spreading ideas, should be the most solid among objective things. People are the most perfect in objective things, so the beauty of the human body has been affirmed and praised at the highest level. So the ancient Greeks discovered the relationship between order, proportion, symmetry and rhythm in objects, and the "representative theory" became the main principle of development, which was further affirmed and developed during the European Renaissance.

In western painting, characters occupy the core position. The so-called core position has double meanings, on the one hand, it is a huge number, on the other hand, it is the core position occupied by characters in composition. Such as the well-known Mona Lisa and The Last Supper, to the works of modernist masters such as Picasso and Van Gogh. This character-centered tradition is a prominent manifestation of western art's humanistic and cultural tradition of attaching importance to individualism. The accurate, harmonious and scientific proportional relationship and perspective relationship in western painting are the embodiment of positivism tradition and scientific spirit in painting. On the other hand, China's traditional painting also abides by China's cultural tradition. In these vast paintings, it must be admitted that the characters are completely subordinate. In Fan Kuan's works of the Song Dynasty, such as The Journey to the West, it can often be seen that in a landscape painting about 2 meters high, if there are clumsy characters, it is almost difficult to find them, and the characters in Mona Lisa occupy four-fifths of the picture, which just set each other off. The reason is simple: the Taoist tradition of advocating natural order proves that human beings are only a little big in nature, just as Su Shi said: "It is a drop in the ocean to send ephemera to heaven and earth." The small paintings in the Ming and Qing dynasties were all flowers, birds, insects and fish, and there was almost no place for people; Naturalism is really a great tradition of China's painting.

China's painting aesthetics is not based on the logic system with taboo structure, and he does not study the essential attributes of nature. He believes that things can be recognized, but they don't need to be expressed with clear concepts in order to pursue eternity and sublimation. A certain definition is unnecessary, which can only be inexpressibly expressed as "meaning is not like color". After a large area of blank space, large pieces of grinding and multi-angle composition, the picture has become a harmonious entity in the universe with complementary artistic creation as understood by the orientals. Europeans believe that everything in the world is so different because they have an unacceptable quantitative relationship at all levels. The beauty of sculpture and painting lies in the harmony and proportion of numbers. All plastic arts depend on the proper grasp of the data relationship, so the refinement and expression of the exquisite proportional rhythm of the human body has become the direction that artists are committed to. There is a difference between "measuring things to get the truth". China is the truth of perception, and the west is the truth of natural attributes; China is the truth in emotional sense, while the west is the truth in objective conditions. Western painting aesthetics holds that artistic creation must rise to rationality, so as to grasp the law of probability and inevitability in things and show it in artistic images, making it an objective copy, although medieval Christianity regarded the original attribute of artistic beauty as the glory of God. China's paintings attach great importance to the spirit likeness, that is, he regards the object he depicts as the medium of the artist's own thoughts and feelings. Through artistic language, the realm of artistic means reconstruction is brought into the artistic conception of an art, and the final result is to make the image fully express the artist's subjective consciousness. Therefore, the expression of the relationship between objects and colors by pen and ink often changes the objective nature to a great extent, with a large number of subjective components.

This shows the artistic differences between China and the West, but even though their styles are quite different, they are still seeking a high-level mutual integration. Mr. Wu Guanzhong once said: "I once compared the excellent paintings of China and the West to dumb couples. Although they don't know the language, they love each other deeply." Throughout history, after 2 1 century, the interaction between eastern and western cultural exchanges has become more and more obvious and inevitable. European oil painting took root in China, and oriental art provided conditions for the development of western art, absorbing and influencing each other. The development of new scientific and technological civilization in 2 1 century has had an important impact on human culture, national tradition and people's lifestyle. However, the law of artistic development tells us that pluralism is still its basic form of existence, and constant innovation to adapt to the body is still its law of existence.