Author(s)

Yuan Wenjing ¹

Affiliation(s)

¹ Shanxi University, Taiyuan, Shanxi, China

Corresponding Author

Yuan Wenjing

ABSTRACT

Art works are usually presented in front of us as a combination of subjective and objective products. However, in different geographical locations, Chinese and Western ways of art expression are also different. The West always advocates realistic and imitative art, while Chinese art pursues the expression of freehand and artistic conception, while Chinese and Western countries show their artistic characteristics through different ways of expression. In his book Philosophy of Art, Taine put forward the aesthetic concept of "characteristic" as the standard to judge the value of art. There are both differences and similarities between Chinese and Western artistic expressions in the expression of "characteristic" aesthetic concepts of artistic works. This article will analyze the differences between Chinese and Western paintings, sculptures and aesthetic concepts, and analyze their similarities from the perspective of painting theory and non-imitative art. Comparative analysis from time to time also enables us to look at Chinese and Western art from a broader perspective and judge the value hierarchy of art with a wiser vision.

KEYWORDS

Characteristic aesthetics; Imitation and reproduction; Aesthetic concept; otherness

CITE THIS PAPER

Yuan Wenjing, The Similarities and Differences between Chinese and Western Art on the Expression of Aesthetic Concept of "Characteristics"—Read Philosophy of Art. Art and Performance Letters (2023) Vol. 4: 54-59. DOI: http://dx.doi.org/10.23977/artpl.2023.041009.

REFERENCES

[1] Taine. Philosophy of art [M]. Jiangsu: Jiangsu Phoenix Literature and Art Publishing House, 2018:10.
[2] Zong Baihua. Aesthetic walk [M]. Shanghai: Shanghai People's Publishing House, 1981:6.
[3] Liu Xizai. Art concept [M]. Shanghai: Shanghai Ancient Books Publishing House, 1978:12.
[4] Ye Lang. Outline of Chinese aesthetic history [M]. Shanghai: Shanghai People's Publishing House, 1985:11.

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