中西文化对比painting

andWesternPaintingsAComparisonofChineseThedevelopmentandmainfeaturesofChinesepaintingChinesepaintingintheancientperiodChinesepaintinginthemiddleperiod:theThreeKingdomsandtheJinDynastiestheTangDynastytheSongandYuanDynastiesQingDynastiesChinesepaintinginthemodernperiodChinesepaintingintheancientperiod1Theinitialpaintingmadeitsappearanceasearlyasintheprehistoricalsociety.

2IntheShangandZhouDynatiesthatthepaintingsfoundexpressionsinsuchmaterialformasonbronze,silk,andthewallsorotherornamentaldesigns.Theyareillusiveobjectsoridolslikethoseinmythorlegend.3TowardstheendoftheZhou,newformsofpaintingcametothefore,suchasmurals,silkpaintingsandactualpaintedpictures.Muralswererecordedinsomeancientbooks,likethedescriptionofConfuciuswatchingamuralinConfuciusTalkingwithHisFamily（《孔子家语》）4

IntheHandynasty,silkpaintingbecameaprincipalformofpainting.ThefiveexcavatedpiecesofsilkpaintingfromMawangduiTomb,Changsha,comfirmedthistendency.ThemostrepresentativeamongthefiveistheT-shapedpiecewhichprovidesthethreecomponentsofhumanimagination:heaven,humanworldandunderground.ManyofthemuralsoftheHanDynastyarewellkeptandcouldbeobservedinthetombs.Theydescribesuperstitiousbeliefs:thedeadascendingtotheheavenortheritualceremoniesforthedead.Oneoftheinventionsduringthisperiodwasstoneandbrickpainting.Someofthemhaveconstitutedaseries,forminganindependentgroupofpictures.PaintingintheThreeKingdomsandtheJinDynastiesWhenhistorymovedontothisperiod,socialturmoilandpolicialchaosprevailedtotheextentthatmanyintellectualsandscholarswereboredbycurrentaffairsandindulgedthemselvesinexcessivedrinkingandattemptedtoseekanescapefromsocialreality.Theychoosetofocusonculturalamusementandsensuousandsensualhedonism.Drawingwasoneoftheseself-amusements.Amongthebest-knownpainterswereGuKaizhiandXieHe.1GuKaizhistartedpaintingbyindividualsorscholarsandwastheearliestfamousChinesepainter.HisrepresentativeworksareAnIllustrationforMelodytoGoddessluo《洛神赋图》andIllustrationforMonitorofWomanOfficials《女史箴图》.2ThemuralsinMogaoCaveofDunhuangarealsoreputableforconveyingtheinterpretationofBuddhistSanskritscripture.PaintingintheTangDynastyTheTangDynastybroughtforwardmoretalentedpaintersandmorefinepictureswithawiderrangeofsubjectsandstyles.Paintingsalsomadedivisionintermsofpaintingobjects,likefigures,landscapeandflowersandbirds.Figures:YanLibenWuDaozi"thePaintingSaint"TheHeavenlyKingOfferingHisSon《送子天王图》

Landscape:LiSixun,LiZhaodao,WangWei

Flowersandbirds:Paintersinthisareaweresubtleandoriginalinrepresentingtheanimalsinalltheirshapesandmovements.Eg:thehorsedrawnbyHanGanZhangXuanZhouFangPaintingintheFiveDynastiesandTenKingdomsThemostcommandingachievementswerethoseinlandscape,representedbyfourfigures,namelyJingHao,GuanTong,DongYuanandJuRan.Closelyassociatedwiththeappearanceofthefamouspainters,thepaintinghousewasestablishedinthesedynastiesandkingdoms,whichdoubtlesspromotedthedevelopmentofChinesepaintings.PaintingintheSongDynastyTherewereanumberoffamouspainters,suchasliGonglin,LiangKai,MaYuan，ZhangZeduan,XiaGuiandZhaoMengfu.LiGonglinandLiangKaiwerebothfigurepainters.LiwasfamousforhisplainsketcheswhileLiangwasfamousforhisinksplashtechnique.ZhangZeduan'sreputationwasfamousforthelongscrollThePanoramaofUpriverSceneduringtheQing-MingFestival.Itpresentsavarietyofimagesofdifferentmannersanddailylifetypicalofsocialcultureatthattimeandalsoprovidesastrongsenseofrealism.ZhanMengfu'sworkshowshimtobeasuccessortothetraditionbyprovidingeitherasenseofneatnessandbeautyorastyleofconsistentcharmanddynamism.MaYuanandXiaGuiwereunitedinaspiritofinnovation.Theychosetorepresentsocialreality.PaintinginYuanDynastyPaintingwassomewhataffectedbypoliticalchangesduringtheYuanDynasty,onaccountofthereignbyadifferentethnicgroup－theMongolnationality.Thepaintinginthisperiodwashencecharacterizedbylandscapedrawings,asrepresentbyHuangGongwang,WangMeng,NiZanandWuZhen.Theydevotedthemselvesnotonlytothenature,butalsotoacarefulandseriousstudyoftechnicalaspectsindrawing.Ontheotherhand,theoreticalexplorationandsummaryasanecessarycomplimenttopaintingdevelopmentcontributedtotheestablishmentofanartisticframeworkanddisciplineforthelaterpainterstofollowandtodefineaChinesepaintingimprintedwithherownidentifiablefeatures.PaintingintheMingDynastyTheMingDynastywasbornoutofthepeasants'armedrevoltagainsttheYuanruler.Itsestablishmentderivedbenefitfromthetemporaryrelationofsocialdisunityandtoadegree,promotedsocial,economicandculturaldevelopments.Famouspaintersappearedoneaferanother,suchasShenZhou,WenZhengming,TangBohu,LinLiangandXuWei,whoseworksweremostlytraditionalandlackedasenseoforiginality.ButworksofTangbohuandXuweishowedacertainrebelliousspiritintheirdrawings.PaintingintheQingDynastyIntheearlyperiod,fourWangsandfourbuddhistmonkswereestablishedpainters.Thefourmonks,especiallyBaDaShanRenandShiTao,displayedastrongsenseofdepressionandsufferingintheircreativeworkandanairofquietsolitudeandapparentbreadthandrefreshingspirit.However,suchastyledidnotpersisttilltheendoftheQingDynasty.Anothergroupoffamouspainterswas"TheOddEightofYangzhou".Theyproducedalargeamountofpictureswithnationalinfluences.Amongthem,thebest-konwnwasZhengXie(ZhengBanqiao).Afterheremovedfromoffice,hesettledinYangZhoutocontinuehiscareerasapainterbyconcentratingonbamboodrawingandcalligraphy.Hisbamboopaintingachievedaveryhighstateofsophisticationandattractedmuchinterest,asisrepresentedbyAnIllustratedBambooinInk《墨竹图》.ThesignsofchangeinthemodernChinesepainting1RenBainianandWuChangshuoandtheirgroupmanifestedanewtendencyandoriginalstyleinChinesepainting.Ontheonehand,theyadopteddifferentkindsoftechniquestoaddtothevarietyandfreshnessofbothmethodandsubject,determinedtoseekabreakthroughintheconventionalChinesepaintingintheirartisticcareer.Ontheotherhand,theircreativeworkhadtofaceupthechallengefromthemarketplace.2Researchinpaintingtechniqueswentonafterthe17thcenturytogetherwithfurtherachievementsintheexplorationofcertaintheoreticaltenets.ThemostimportantonewasShiTao'sQuotationsfromPaintingoftheMonkKuGua《苦瓜和尚话语录》3TheChinesepaintingstratedtoshiftitsattentiontotheoutsideworldbygettingintouchwithJapan,blendingnativeandwesterncultraltraditionsin19th.ThefirstestablishmentofWestern-styleartinstructionalsodatedfromthisperiod.4Bythemid-1920s,someyoungChineseartistswereattractednotjusttoJapanbutalsotoParisandGermanartcentres.LiuHaisuwasfirstattractedbyimpressionistart.LinFengmianwasinspiredbypostimpressionistexperimentsincolourandpatternbyHenriMatisseandthefauvists.HealsoadvocatedasynthesiscombiningwesterntechniquesandChineseexpressivenessandleftalastingmarkonthemodernChineseuseofthebrush.5Bythe1930s,allthesemoderntrendswereclearlydevelopedandinstitutionalized.QibaishicombinedShanghaistylewithaninfusionoffolk-derivedvitality,producingsuchworksastransparentshrimpsandlifelikeflowers.HuangBinhongwasrelativelyconsevativeinhislandscapedrawingsandillustratedthevalueoftheoldtradition.TheearliestpaintingsintheWestappearedabout1500BCinCrete,anislandsomedistancefromtheGreekmainland.Theywereintheformofmuralsmostlyanddecorationsonurns.Themost"modern"figureintheclassicalperiodcamefromaRomandrawinginscribedonamosaicpavement,entitledGirlAthlete.MaybeitwasoneofthelastsuchmodernpicturesinthedaysbeforethebirthofChristianity.WhentheRomanEmpirewastoppledbytheGothandVandal,theRomanleadershipchangedhandstothebarbarianswhowouldmarkthelongperiodoftheMiddleAgeswiththeirignoranceandnegligenceofcivilizedhumanvalues.TheMiddlesAgescannotbeseparatedfromtheriseofChristianity.ThestoryofChristandtheassociatedreligiousconcernsdominatetheWesternpainting.TheinitialstageofwesternpaintingTheoriginanddevelopmentofwesternpainting1Theinitialstageofwesternpainting2VigorousgrowthinwesternpaintingsinceRenaissance3ThedawnofthemodernpaintingandmodernistachievementTheearliestpaintingsintheWestappearedabout1500BCinCrete,anislandsomedistancefromtheGreekmainland.Theywereintheformofmuralsmostlyanddecorationsonurns.Themost"modern"figureintheclassicalperiodcamefromaRomandrawinginscribedonamosaicpavement,entitledGirlAthlete.MaybeitwasoneofthelastsuchmodernpicturesinthedaysbeforethebirthofChristianity.WhentheRomanEmpirewastoppledbytheGothandVandal,theRomanleadershipchangedhandstothebarbarianswhowouldmarkthelongperiodoftheMiddleAgeswiththeirignoranceandnegligenceofcivilizedhumanvalues.TheMiddlesAgescannotbeseparatedfromtheriseofChristianity.ThestoryofChristandtheassociatedreligiousconcernsdominatetheWesternpainting.TheinitialstageofwesternpaintingTheearlyChristianswerethereforeconcernedprincipallywiththeSaviourandthespirituallifeofthehereafter.TheChristianpainterstriedmostlytoshowthepowerandgloryofChrist,theonlyfiguretheyrespectedandcaredfor.Evenwiththenon-Christianfigurestheyoccasionallydrew,therewasasenseofartificialitywhichwastherigidstyle.ItwasfurtherdevelopedintheByzantinetimeasmanifestedinthedepictionsofMadonnaandchild.ThenitbegantobedisplacedbyGothicpaintingthataroseinFranceasaresultofthedevelopmentofurbansocietyandexpansionofthe"burghers".Gothicpictureswerestillconcernedwithreligioussubjects,butsomeofthemwereinclinedtomanifestordinarypeopleandtheirlives,anduseddifferentcoloursandformstodecoratestainedglasswindowsinchurches.GiottowhoserepresentativeworkisLamentationoverChrist《哀悼耶稣》alsoexploredmoreofthespiritualdepthofthesubjectsoftheirpaintings.TheRenaissancegenerallysuggeststherebirthofclassicalculturethathadbeenburiedorhiddenorignoredinthelonganddarkyearsoftheMiddleAges.Intheearlyperiod,therearemanypainterslikeGiotto,MasaccioandPieroDellaFrancesca.Theirpaintingsstillconcentratedonreligioussubjects,yetthewaytheyrepresentedreligiousfigureswerequitedifferentfromthoseintheMiddleAges.Forinstance,Masaccio'sfrescoTheHolyTrinitywithStJohn,StMaryandTwoDonors《圣母一体像》ispresentedbothnaturallyandvividlywithfiguresdrawnlikerealhumanbeings.VigorousgrowthinwesternpaintingsinceRenaissanceTheclimaxofRenaissancepaintingdidnotcomeuntilthe16thcenturywhenDaVinci,MichelangeloandRaphaelestabishedtheirreputations.1DaVinciwasageniusinmathematics,physics,biologyandliteratureinadditiontopainting.Hebelievesstronglythattoseeistoknow,Heisthefirstofthehumanracetosketchflyingmachinesandtosketchthedetailsofhumananatomy.HisMonaLisa《蒙娜丽莎》iswellknownforhermysterioussmile,whichisevidenceofhisdesirefortruthfulresemblanceoffiguresinpaintingandthesocialrealityoftheirlives.2Michelangelo'smasterpieceisthehugefrescocoveringtheentireceilingoftheSistine