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Chinese and western painting aesthetics

2019-08-29 来源: 51Due教员组 类别: 更多范文

下面为大家整理一篇优秀的assignment阿根廷国家队官方赞助商范文- Chinese and western painting aesthetics,供大家参考学习,这篇论文讨论了中西方绘画美学。绘画美学是众多美学学科中的一个重要部分,绘画美学通过表现性、再现性、审美性等方面来表达自己的思想和审美情趣。透过绘画美学我们可以更深入地了解绘画学科,了解绘画艺术对情感的表达。中国绘画美学是通过留白、淡化、想象来表现“气韵生动”的美学特征。而西方绘画美学则是通过体、面、比例、透视、解剖来展现其真实再现和理性思维的。

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Aesthetics is a comprehensive product of economy, politics, culture, art and thought, and a humanized and emotional discipline system. It pursues freedom and innovation, and has advanced characteristics of The Times. Painting aesthetics is an important part of many aesthetic disciplines. Painting aesthetics expresses its own thoughts and aesthetic interests through expressiveness, reproducibility, aesthetics and other aspects. Through the aesthetics of painting, we can have a deeper understanding of the subject of painting and the expression of emotions in the art of painting.

China's aesthetic art was born in the spring and autumn period and the warring states period, and developed to the wei, jin, southern and northern dynasties. China's aesthetic art has covered painting aesthetics, calligraphy aesthetics, drama aesthetics, garden aesthetics, cooking aesthetics, novel aesthetics and other aspects. It can be said that the system is complete and the discipline is rich. Western aesthetic art came into being in ancient Greece and Rome. Although it has undergone a long development in the middle ages, it has made great progress only in the theory of religion music, and no great progress has been made in other aesthetic systems. As Engels said, the western aesthetic system may not be as complete and rich as that of ancient China, but it has reached an unprecedented height in terms of qualitative, quantitative analysis and theoretical abstraction in part, because it represents a brand-new historical stage higher than ancient times in the development of human thinking. The correct and dialectical view of Chinese and western painting aesthetics plays a very important role in our development of Chinese aesthetic art.

The formation of aesthetic thoughts needs a relatively free and loose environment, a relatively prosperous economy, a rich and colorful cultural and artistic background and a relatively active academic atmosphere. Throughout history, both Chinese aesthetic art and western aesthetic art had these basic factors and conditions at the beginning of their formation, so as to form aesthetic theories with scale.

The spring and autumn period and the warring states period, Confucius, mo zi, mencius, laozi and zhuangzi, everything is done for representative thinkers have emerged, such as the traditional Confucian and Taoist thought as the bearer of scholars to represent the interests of the feudal class, their aesthetic thought is also under the condition of the history of this relative freedom, therefore this period of painting aesthetics is also in the interests of the feudal class; During the spring and autumn period and the warring states period, the economy developed unprecedently. The use of iron tools marked the rapid development of productive forces. Bronze sharp tools and bronze weapons with high aesthetic value and artistic value were produced and used. Painting in the spring and autumn period and the warring states period there was a significant breakthrough, is no longer attached to the arts and crafts decorations, but developed into an independent art, sculpture art at this time also revealed a new look, also known as the "book of songs" and "chu ci", is a breakthrough development of art and literature of the era; In the spring and autumn period and the warring states period, education was popular, with increasing academic schools and strong academic atmosphere.

Ancient Greek and Roman slavery from the developed to the period of decline, is relatively free of historical environment, in this era of conservative Democrats and fierce struggle, the western aesthetic thought arises at the historic moment, the main aesthetes like Socrates, Plato, Aristotle and are emerging in the s, the expression of historical stages of development and progress; The economy of ancient Greece and Rome was developed in frequent wars. Athens developed handicraft industry and commerce by virtue of its superior geographical position. Ancient Greek and Roman art was described by Marx as "a standard and immeasurable model". Homer's epic was written into a definitive version in the 6th century BC, and Greek drama, music, architecture, fine arts, sculpture and other arts also reached its peak. The colorful art culture promotes the integrated development of natural and social subjects, and the academic atmosphere is free.

These social factors have laid the foundation for the emergence of Chinese and western painting aesthetics and pointed out the direction for the prosperity and development of Chinese and western painting aesthetics.

Chinese painting emphasizes to express people's emotions by "writing god in form and combining both form and spirit", and to feel deeper feelings and artistic conception through the objects in the works. The unity of subjective and objective between the painter and his depicted objects is the unity of "being a master of nature and being a source of heart" and the combination of imitating nature and inner experience. Figures, flowers and birds are the main subjects of Chinese paintings. We are accustomed to leave white space and fade the background, so that the picture leaves people with infinite reverie. A few cold plum sticks on a piece of work can highlight the tension of life and let us feel the emotion the author wants to express. This way of depicting "silence wins sound at this time" is the essence of Chinese painting art and also the profound part of Chinese traditional culture. Therefore, Chinese painting aesthetics shows the aesthetic characteristics of "vivid vitality" through blank space, dilution and imagination.

Western painting emphasizes authenticity and advocates to depict things according to their own appearance, which is exactly the basic feature of art stressed by statesman and philosopher Plato, namely imitation. We can find "illusion" in the western painting figure is widespread, and leonardo Da Vinci era will be "perspective" formed a systematic theory, and the "line perspective" parallel perspective, into perspective, tilted perspective and eye level and the use of viewpoints such as direct use in painting, this also is the sensation of reality in western painting in order to chase and expressions of larger picture. Through the most practical expression of nature, the attitude of life is expressed to further express the persistent pursuit of western humanism. Therefore, western painting aesthetics shows its true representation and rational thinking through body, face, proportion, perspective and anatomy.

No matter how Chinese and western painting aesthetics express features and emotions, they are all expressed with appropriate language symbols and have their unique characteristics. The respectability in western painting and the pen-line in Chinese painting are the fruitful achievements made in their own long-term artistic practice, and they are the "beauty" and "beauty" of each other.

Chinese and western painting aesthetics are different from each other in terms of cultural background, thinking mode and artistic expression, so they are not the same in terms of aesthetic spirit. The connotation of Chinese painting aesthetics lies in "walking from the heart", "entering the heart" and "experiencing", and the aesthetic spirit of Chinese painting aesthetics is expressed through "nihility" and "spirit likeness". To thoroughly grasp the aesthetic spirit of Chinese painting aesthetics, we need to look for and appreciate it through the history of Chinese aesthetics. For example, "miao" and "tao", "qi" and "god" in the Chinese aesthetic category series, these artistic attributes are higher than "yi" and "yun". Su shi said: "on the shape of the painting, see with children in the neighborhood", he thought painting should be "to express meaning chang god"; Shi tao, huang binhong and qi baishi said again: "painting should be like or not like is true", "wonderful" is between "like and not like". With the continuous development of painting towards the spice, the relationship between form and god gradually turns into the relationship between ink and emotion. No matter ink and emotion, they must be in a state of "neutralization" and "moderation", and they should never go to any extreme. This kind of "aesthetic experience" of Chinese painting aesthetics is based on the original "unity of nature and man" of traditional Chinese culture for a long time, which adds some magic to Chinese aesthetics of life ontology color theory and integration of people and realm. In the ancient Greek and Roman period, the western concept of aesthetics is "imitation", emphasizing that the subject is calm, objective, rational supremacy, emphasizing the cognitive and moral significance of art. The British empiricist hutchinson believed that "the pleasure of beauty is quite different from the pleasure generated by self-selfishness when seeing benefits", and proposed that "the most powerful beauty in appearance, manner, posture and dynamic is the sign of some good moral character in people's mind which arises from imagination". The connotation of western painting aesthetics lies in "entering the eye" and "view of the eye", showing "shape is" and "essence" by "realism" and paying attention to "aesthetic contemplation". As western aesthetics focuses on philosophy, body and mind dichotomy, and sidesideoutside the world, due to the crisis of rationalism and scientism in modern and contemporary times, as well as the internal reflection of aesthetics itself, the aesthetic consciousness of western aesthetics has been turned into life and reality. Compared with Chinese painting aesthetics, western painting aesthetics has more direct artistic expression and more direct understanding of the world and society, so its aesthetic expression is more direct. Just like Da Vinci's the last supper, "all the dining scenes seem to take place before our eyes. The figures in the painting are clearly visible in the sun, but only judas's face and part of his body are hidden in the dark shadow."

To sum up, Chinese and western painting aesthetics are different from each other due to different geographical space, social production mode and other factors at the beginning of its formation. However, from the perspective of the development of aesthetic rules, they are all establishing the aesthetic relationship between man and reality. Painting aesthetics expresses its own thoughts and aesthetic taste through expressiveness, reproducibility, aesthetics and other aspects. Through painting aesthetics, we can have a deeper understanding of painting discipline and the expression of painting art to emotions. The vigorous development of painting aesthetics will drive the progress of art and art philosophy, and the integration of Chinese and western painting aesthetics will also lead the aesthetic system to a broader new realm. In short, correctly, and the dialectical view of the aesthetics, Chinese and western painting for our aesthetic art has a very important role in the development of China, produced by comparing Chinese and western painting aesthetics, expressive and aesthetic features, such as the basis of understanding of the differences between the two chord, so as to promote the integration between Chinese and western painting and innovation.

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