Chinese painting and the collision of exchanges with Western painting? Please help!

Different cultures create differences in art, cultural exchanges lead to the collision of art, in recent years, East-West cultural exchanges are increasingly warm, in China, there is a "Year of France", "Year of Italy", etc., and the Western countries are also scrambling to organize the "Year of China", Chinese art and Western art in the passionate collision of brilliant sparks, both art in each other's fields of fame. In China, there are "French Year", "Italian Year" and so on, while western countries also compete to organize "Chinese Year", Chinese art and western art in the passionate collision of brilliant sparks, both arts in each other's field to win the reputation of countless. From the Impressionist exhibition to the Italian art exhibition and then to the New York Modern Art Exhibition, from the National Palace Treasures Exhibition to the modern Chinese painters joint exhibition and then to Wu Guanzhong solo exhibition, over the past few years, shuttling between major exhibitions in art museums and museums, I also gained a lot for the comparison of traditional Chinese painting and Western painting some small views. First, the tools and materials are different. Chinese painters use brushes, ink and mineral and vegetable pigments to paint, the carrier is rice paper or silk, simple and pure. The tools and materials used by Western painters are much more complex. For example, oil painting is to use transparent plants to blend pigments, painting on canvas, board or paper; watercolor painting is to use the transparency of the pigment, water color mixing halo, penetration, overlapping painting on paper; gouache painting is to use water to blend the glue, powder opaque pigments, painting on paper; printmaking is through the drawing, engraving, printing three links to complete (some of them are like Chinese New Year's paintings production). Second, the painting techniques are different. First of all, Chinese paintings mostly use lines to outline things, character's eyebrows, clothes folds, dry bark, leaf veins, none of which are not expressed in ink lines, while the traditional Western painting (before the Post-Impressionism) is no outline, they usually use the contrast between dark and light and background to reflect the shape of things, looks closer to the real, and even some painters strive to pursue the extreme real effect to make the works Some painters even strive for extreme realism to make their works look more like a photograph. Secondly, Chinese painting does not pay attention to perspective (perspective, that is, in the plane on the expression of three-dimensional things), Chinese painters do not need the assistance of natural light, more precisely, is not the need for color transition, no background rendering, no contrast between light and dark, at best, just the depth of the ink, but, very often, the Chinese paintings are expressed but will not let people feel that it is a plane of things, such as the painting of landscapes, the picture of the river in the near future, there is a boat in the river, the middle of the picture is a boat in the middle of the picture, it looks like a photograph. For example, in a landscape painting, the near part of the picture is the river, there is a boat in the river, and in the middle of the picture, i.e. the riverside, the mountains are undulating and cascading, and in the upper part of the picture, the artist will use the hazy light ink to express the mountains in the distance, to create a kind of cloudy feeling, and the visual effect will be from near to far, which will make people feel that the meaning of the painting is far-reaching. Western painting, on the other hand, attaches great importance to perspective, because Western painters strive to express the shape of real objects, and the real atmosphere of the environment, and they endeavor to study the effect of light on objects and the expression of shadows. It can be seen that the western paintings in the performance of the still life or the house of artifacts furnishings, the shape is very correct, the painter of the light and dark junction of the changes in the performance of the right, so that the painting of the same thing as the real thing, but also in a few inches to show the distance between several zhang, so that people feel the vagaries of the square inch. Thirdly, the anatomical principle in western figure painting is never seen in Chinese painting. Western painters in the character painting, in order to reflect the real, often pay much attention to the use of anatomy, we always see in some of the performance of nude paintings of the character of the meticulous portrayal of the body, the body proportions are coordinated, including the muscles and bones of the nuances are realistically expressed, such as the classical masters of Angell's "spring", Rembrandt's "Bathroom in the Queen of Sheba" is the very best. Leonardo da Vinci was said to be a good doctor if not a painter. The main thing that Chinese figure paintings want to show is the posture and charm of the characters, so they do not talk about the size and proportion of the various parts of the characters, the painting of the people is far from the normal state of the characters. You do not see the men in Chinese paintings, never a great handsome and dashing, women are moth eyebrow cherry lips, shoulders and waist. If you take off the clothes of these characters, their shape is terrible. But the character through the eyes of the characters in the dewy-eyed demeanor as well as the action of clothing to show the character can be said to be appropriate, can be said not to seek similarity but to seek similarity. Third, the color expression is different. Chinese paintings do not use natural light, do not pay attention to changes in the color of the object, so the method of applying color is mostly flat paint, the pursuit of the effect of the object's inherent color, very few changes in light and shadow, even if you want to do the transition of color, but also just the main use of white to change the depth of a little bit to reflect the change of light and dark. In pure black and white ink painting, it is only about the intensity of the depth of the ink, chapped, rubbed, dotted, dyed interactively, dry, wet, thick, light and reasonable deployment, the beauty of the color of Chinese paintings lies in the ink of the thick and light, the thickest, thick, second thick, light, light, a little light, thick and must be wonderful and not stagnant, light and must be beautiful and not obscured. It can be said that the color of Chinese paintings is superior in its purity and profoundness. Western painting brings people a completely different feeling. Western painters always use large pieces of color to show people and things, portraits often use dark background to contrast the bright characters of the main body, the contrast between light and dark is obvious, giving people a visual impact. Landscape and still-life paintings are rich in color, meticulous performance, pay attention to the harmony of light and color, reflecting the greatness of nature, the greatness of light, to give people the enjoyment of beauty, and sometimes feel that the content of the painting instead of a secondary position. It can be said that the color of western paintings is superior in delicacy and gorgeousness, which is real and believable. In addition, Western painting in the picture painted full of color, do not leave a blank, large block, heavy and slightly dark, while Chinese painting is concerned about the "white when black", pay close attention to the operation of the blank, the white part of the picture can be used as a water surface, clouds, or the moon ...... become an indispensable content of the whole picture. Indispensable content. Fourth, the subject matter is different. If the content of the subject matter to points, Chinese paintings have figures, landscapes, birds and flowers three categories. Although the landscape is often the main frame of Chinese painting, but Chinese painters are often all things can be painted, such as a variety of fruits and vegetables, flowers and plants, animals, famous on the shrimp Qi Baishi, Xu Beihong's horse, full of life, there are also a lot of religious themes, such as Dunhuang Grottoes, such as the flying sky frescoes. In addition, Chinese paintings, especially landscapes, birds and flowers, often contain symbolism, for example, plum blossoms and pine trees symbolize the indomitable spirit of struggle against the cold and the wind. Although there were times in the history of Chinese painting when brushstrokes were devalued and brushstrokes were elevated, and green and blue landscapes were devalued and ink landscapes were exclusively honored, the development of Chinese painting was generally very free, and there were no external limitations, such as those brought about by politics, which, it can be said, is what made Chinese painting blossom. Western painting, on the other hand, has always been characterized by the figure as its main subject since the Greek era. In the early days, it was based on religion and the culture of the gods, and most of the figures were based on mythological stories. In the Middle Ages, advocating that all art was a slave to theology, religious paintings were mostly based on the masses, such as The Last Judgment, with countless figures in a single painting. In the seventeenth century, with the development of society and the change of class status, art also had a great evolution, the emerging bourgeoisie and the lower middle class civilians began to become an important role in painting, depicting the characters in addition to the performance of their social status, clothing and instrumentation, and more focused on the discovery of their inner world and personality traits, the Dutch painter Rembrandt is the seventeenth-century European painting for the opening up of a new realm of masters. It can be said that portrait painting was the orthodox painting subject in the western painting world at that time, and other subjects were not accepted by the upper class. Until the 19th century, there were independent landscape paintings. The appearance of Rousseau and Corot drove the development of landscape paintings, and their discovery of atmosphere caused the Impressionists to analyze the study of external light. However, after landscape painting became independent, it was not accepted by the mainstream of society for a long time. Until nowadays, although there are many different styles of modern art, figure painting has not given way to it, and it is still the main subject of Western painting. All in all, Chinese and Western art have their own unique styles. Traditional Chinese painting, free, dashing, floating, not confined to the appearance of the object resemblance, but more emphasis on the expression of the subjective interest of the painter, the pursuit of "the shape of God", the view of the painting can be felt after the painter's lofty sentiments, while the traditional Western painting, orthodox, standardized, elegant, pay attention to the "God" performance, more importantly, the expression of the "God". Traditional Western painting, orthodox, standardized, elegant, focusing on the performance of "God", and more "shape to write shape", the view of the painting can speculate on the painter's environment. Some people say that Western painting is the art of "reproduction" and Chinese painting is the art of "expression", which I y believe. Because of the limited exposure to modern art, the above views mainly refer to traditional Chinese painting and Western painting before Post-Impressionism.